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On November 15, 1290, Pope Nicholas IV laid the cornerstone for the present building and dedicated it to the Assumption of the Virgin, a feast for which the city had a long history of special devotion. The design has often been attributed to Arnolfo di Cambio, but the prevailing modern opinion is that the master mason was an obscure monk named Fra' Bevignate from Perugia. The church is striped in white travertine and greenish-black basalt in narrow bands, similar in many ways to the cathedral of Siena and other central Italian cathedrals of that era. In the following decade, cathedral authorities called Sienese architect and sculptor Lorenzo Maitani to stabilize the building and design a façade. He enlarged the choir and planned a transept with two chapels (c. 1308-1330), spaces that were not finished until long after his death. The façade (illustration at right) is particularly striking and includes some remarkable sculpture by Lorenzo Maitani (14th century). Inside the cathedral, the Chapel of San Brizio is frescoed by Fra Angelico and with Luca Signorelli's masterpiece, his Last Judgment (1449–51). On the left side of this chapel are the tombs of the Gualterio family.
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Luca Signorelli
Italien / Toskana - Volterra
View back on the way back from Prato d'Era.
Rückblick auf dem Weg zurück von Prato d'Era.
Volterra (Italian pronunciation: [volˈtɛrra]; Latin: Volaterrae) is a walled mountaintop town in the Tuscany region of Italy. Its history dates from before the 8th century BC and it has substantial structures from the Etruscan, Roman, and Medieval periods.
History
Volterra, known to the ancient Etruscans as Velathri or Vlathri and to the Romans as Volaterrae, is a town and comune in the Tuscany region of Italy. The town was a Bronze Age settlement of the Proto-Villanovan culture, and an important Etruscan center (Velàthre, Velathri or Felathri in Etruscan, Volaterrae in Latin language), one of the "twelve cities" of the Etruscan League.
The site is believed to have been continuously inhabited as a city since at least the end of the 8th century BC. It became a municipium allied to Rome at the end of the 3rd century BC. The city was a bishop's residence in the 5th century, and its episcopal power was affirmed during the 12th century. With the decline of the episcopate and the discovery of local alum deposits, Volterra became a place of interest of the Republic of Florence, whose forces conquered Volterra. Florentine rule was not always popular, and opposition occasionally broke into rebellion. These rebellions were put down by Florence.
When the Republic of Florence fell in 1530, Volterra came under the control of the Medici family and later followed the history of the Grand Duchy of Tuscany.
Culture
The main events that take place during the year in Volterra are
Volterra gusto
Volterra arte
Volterra teatro
Main sights
Roman Theatre of Volterra, 1st century BC, excavated in the 1950s
the Roman amphitheatre was discovered in 2015 and has been excavated over the succeeding years
Piazza dei Priori, the main square, a fine example of medieval Tuscan town squares
Palazzo dei Priori, the town hall located on Piazza dei Priori, construction begun in 1208 and finished in 1257
Pinacoteca e museo civico di Volterra (Art Gallery) in Palazzo Minucci-Solaini. Founded in 1905, the gallery consists mostly of works by Tuscan artists from 14th to 17th centuries. Includes a Deposition by Rosso Fiorentino.
Etruscan Acropolis and Roman Cistern. The acropolis on the citadel dates to the 8th century B.C., while the impressive cistern is from the 1st century B.C.
Volterra Cathedral. It was enlarged in the 13th century after an earthquake. It houses a ciborium and some angels by Mino da Fiesole, a notable wood Deposition (1228), a masterwork of Romanesque sculpture and the Sacrament Chapel, with paintings by Santi di Tito, Giovanni Balducci and Agostino Veracini. In the center of the vault are fragments of an Eternal Father by Niccolò Circignani. Also noteworthy is the Addolorata Chapel, with a terracotta group attributed to Andrea della Robbia and a fresco of Riding Magi by Benozzo Gozzoli. In the nearby chapel, dedicated to the Most Holy Name of Jesus, is a table with Christ's monogram, allegedly painted by Bernardino of Siena. The rectangular bell tower is from 1493.
Volterra Baptistery of San Giovanni, built in the second half of the 13th century.
Fortezza Medicea (Medicean Fortress), built in the 1470s, now a prison housing the noted restaurant, Fortezza Medicea restaurant.
Guarnacci Etruscan Museum, with thousands of funeral urns dating back to the Hellenistic and Archaic periods. Main attractions are the bronze statuette "Ombra della sera" (lit. '"Shadow of the Night"'), and the sculpted effigy, "Urna degli Sposi" (lit. '"Urn of the Spouses"') of an Etruscan couple in terra cotta.
The Etruscan Walls of Volterra, including the well-preserved Walls of Volterra (3rd-2nd centuries BC), and Porta Diana gates.
The Medici Villa di Spedaletto, outside the city, in direction of Lajatico
There are excavations of Etruscan tombs in the Valle Bona area.
Volterra Psychiatric Hospital, Founded in 1888 until 1978, it was reopened for public and will be once more used for psychiatric purposes.
In popular culture
Volterra features in Horatius, a poem by Lord Macaulay.
Linda Proud's A Tabernacle for the Sun (2005), the first volume of The Botticelli Trilogy, begins with the sack of Volterra in 1472. Volterra is the ancestral home of the Maffei family and the events of 1472 lead directly to the Pazzi Conspiracy of 1478. The protagonist of the novel is Tommaso de' Maffei, half brother of one of the conspirators.
Volterra is an important location in Stephenie Meyer's Twilight series. In the books, Volterra is home to the Volturi, a clan of rich, regal, powerful ancient vampires, who essentially act as the rulers of the world's vampire population. (However, the relevant scenes from the movie were shot in Montepulciano.)
Volterra is the site of Stendhal's famously disastrous encounter in 1819 with his beloved Countess Mathilde Dembowska: she recognised him there, despite his disguise of new clothes and green glasses, and was furious. This is the central incident in his book On Love
Volterra is mentioned repeatedly in British author Dudley Pope's Captain Nicholas Ramage historical nautical series. Gianna, the Marchesa of Volterra and the fictional ruler of the area, features in the first twelve books of the eighteen-book series. The books chart the progress and career of Ramage during the Napoleonic wars of the late eighteenth and early nineteenth century, providing readers with well-scripted articulate details of life aboard sailing vessels and conditions at sea of that time.
Volterra is the site where the novel Chimaira by the Italian author Valerio Massimo Manfredi takes place.
Valerio Massimo Manfredi's The Ancient Curse is also set in Volterra, where a statue called 'The Shade of Twilight' is stolen from the Volterra museum.
Volterra is featured in Jhumpa Lahiri's 2008 collection of short stories Unaccustomed Earth. It is where Hema and Kaushik, the protagonists of the final short story "Going Ashore," travel before they part.
Volterra is featured in Luchino Visconti's 1965 film Vaghe stelle dell'Orsa, released as Sandra (Of a Thousand Delights) in the United States and as Of These Thousand Pleasures in the UK.
Volterra's scenery is used for Central City in the 2017 film Fullmetal Alchemist (film) directed by Fumihiko Sori.
The 2016 video game The Town of Light is set in a fictionalized version of the notorious Volterra Psychiatric Hospital.
"Volaterrae" is the name given by Dan and Una to their secret place in Far Wood in Rudyard Kipling's Puck of Pook's Hill. They named it from the verse in Lord Macaulay's Lays of Ancient Rome:
From lordly Volaterrae,
Where scowls the far-famed hold
Piled by the hands of giants
For Godlike Kings of old.
Volterra and its relationship with Medici Florence features in the 2018 second season of Medici: Masters of Florence.
(Wikipedia)
Volterra, lateinisch Volaterrae, ist eine italienische Stadt mit 9980 Einwohnern (Stand 31. Dezember 2019) in der Provinz Pisa in der Region Toskana.
Geographie
Volterra liegt etwa 50 Kilometer südlich von Pisa und 30 Kilometer vom Mittelmeer entfernt. Die Stadt gilt mit ihrem spektakulären landschaftlichen Umfeld als eine der schönsten in der Toskana.
Der Kern der heutigen Stadt liegt abgeschieden auf einem 550 m hohen Bergrücken über dem Tal der Cecina (Val di Cecina) inmitten einer kargen, zerfurchten Hügellandschaft. Die Felsabbrüche und Geröllhalden sind das Produkt jahrhundertelanger Erosion. Das Gebiet Le Balze im Nordwesten Volterras vermittelt einen beispielhaften Eindruck dieses Phänomens.
Die Stadt wird beherrscht von einer heute als Staatsgefängnis benutzten Festung der Medici, der Fortezza Medicea. Volterra ist ein Zentrum der Alabasterverarbeitung.
Zu den Ortsteilen (Frazioni) zählen Mazzolla, Montemiccioli, Saline di Volterra und Villamagna.
Die Nachbargemeinden sind Casole d’Elsa (SI), Colle di Val d’Elsa (SI), Gambassi Terme (FI), Lajatico, Montaione (FI), Montecatini Val di Cecina, Peccioli, Pomarance und San Gimignano (SI).
Geschichte
Volterra kann auf eine lange Geschichte zurückblicken. Bereits im 4. Jahrhundert v. Chr. entstand der Ort aus der Verbindung mehrerer kleiner etruskischer Ansiedlungen, deren Bestand bis ins 7. Jahrhundert v. Chr. zurückverfolgt werden kann. Zu dieser Zeit bauten die Etrusker eine sieben Kilometer lange Ringmauer und nannten die nunmehr vereinigte Stadt Velathri.
Volterra war eine der ältesten und größten der zwölf Bundesstädte Etruriens. Später war es eine römische Stadt mit den Rechten eines Municipiums. Ihre hohe Lage machte sie zu einer starken Festung, die Sulla im ersten Bürgerkrieg erst nach zweijähriger Belagerung 79 v. Chr. einnehmen konnte.
Im 12. und 13. Jahrhundert war Volterra eine Republik; im 14. Jahrhundert fiel es an Florenz.
Sehenswürdigkeiten
Architektonische und künstlerische Zeugnisse der verschiedenen Epochen zeugen von der wechselvollen Existenz und Bedeutung der Stadt. Einige der etruskischen Nekropolen und mittelalterlichen Kirchenmauern sind jedoch in der Vergangenheit der Erosion zum Opfer gefallen.
Am Hauptplatz der Stadt, der Piazza dei Priori, steht der älteste erhaltene Kommunalpalast der Toskana, der Palazzo dei Priori.
Von der etruskischen Stadtmauer ist als einziges Tor die Porta all’Arco gut erhalten. Es stammt aus dem 4. Jahrhundert v. Chr. Im äußeren Bogen sind drei verwitterte Köpfe zu erkennen, deren Bedeutung aber umstritten ist.
Außerhalb der mittelalterlichen Porta Fiorentina liegt das Teatro Romano, erbaut zur Zeit des Kaisers Augustus. Von der Zuschauertribüne für etwa 2000 Personen blickt man auf die teilweise rekonstruierte Bühnenwand. Die unterhalb des Theaters liegenden Thermenanlagen stammen aus späterer Zeit.
Andere historische öffentliche Gebäude sind der Dom Santa Maria Assunta aus dem frühen 12. Jahrhundert mit einer Kassettendecke und mit Granit vortäuschender Stuckverkleidung der Säulen sowie etlichen künstlerisch hochrangigen Ausstattungsstücken, das oktogonale Baptisterium mit einem Taufbecken von Andrea Sansovino, der auf Privatpaläste und Wohntürme aus dem 12. und 13. Jahrhundert zurückgehende Palazzo Pretorio sowie der als Gefängnis dienende Torre del Porcellino. Schließlich gehört der Palazzo Incontri-Viti zu den prachtvollsten Gebäuden Volterras.
Unter den Kirchen sind zu nennen: die spätromanische S. Michele sowie die Kirchen von S. Francesco, S. Lino und S. Girolamo mit Bildern und Skulpturen aus der Schule von Florenz.
Museen
Von besonderer Bedeutung ist das archäologische Museo Etrusco Guarnacci im Palazzo Desideri Tangassi. Mario Guarnacci (1701–1785), ein vielseitig interessierter Gelehrter, widmete seine Studien der antiken Geschichte. Dabei konnte er durch Ankäufe und Ausgrabungen eine ansehnliche Menge Belegmaterial über die etruskische Zivilisation sammeln.
Ein bedeutender Teil der Sammlung umfasst Ascheurnen sowie Stücke aus Bronze und Keramik. Die Urnen bestehen aus Tuffstein, Alabaster und Tonerde. Eine der bekanntesten ganz Etruriens ist die Urna degli Sposi (dt. Urne der Brautleute), auf deren Deckel ein Paar beim Festmahl liegend dargestellt ist.
Das bedeutendste Stück der Sammlung ist jedoch die Bronzefigur Ombra della sera (dt. Abendschatten). Es ist mit der Zeit zu einer „Ikone“ für das Museum und die Stadt Volterra geworden. Seine Berühmtheit verdankt es hauptsächlich seiner einzigartigen Form, die den italienischen Dichter Gabriele D’Annunzio an den Schatten einer menschlichen Figur in der Abendsonne erinnert haben soll. Es ist ein Meisterwerk etruskischer Bronzegießer aus der hellenistischen Periode. Ein weiteres bedeutendes Exponat ist die Stele des Avile Tite aus dem 6. Jahrhundert v. Chr.
Weitere Ausstellungsstücke sind verschiedene Mosaikböden aus der römischen Kaiserzeit, die aus Volterra und Segalari stammen. Hinzu kommt eine Münzsammlung mit seltenen etruskischen Münzen aus Gold, Silber und Bronze. Schließlich sind noch mit Edelsteinen verzierte etruskische und römische Schmuckstücke zu sehen.
Wichtig ist die Sammlung der seit 1982 im Minucci-Solaini-Palast untergebrachten „Pinacoteca“ mit der berühmten Kreuzesabnahme (1521), dem Meisterwerk des Malers Rosso Fiorentino, und den bedeutendsten Arbeiten von Taddeo di Bartolo, Domenico Ghirlandaio und Luca Signorelli, welche die künstlerischen Einflüsse aus Pisa, Florenz und Siena anschaulich machen.
Im April 2003 wurde im Turmhaus des Palazzo Minucci-Solaini das Ecomuseo dell’Alabastro eröffnet, in dem die Geschichte der Gewinnung und der Verarbeitung von Alabaster seit der Antike bis zur Gegenwart dargestellt ist.
Volterra in der Literatur
Volterra ist eine wichtige Stadt in Stephenie Meyers „Biss“-Serie. Dort ist Volterra die Heimatstadt der Volturi, einer königlichen Vampirfamilie.
Volterra spielt auch in der von Dudley Pope geschriebenen Romanreihe um den britischen Marineoffizier Nicolas Ramage eine Rolle. Im ersten Band rettet er während der Napoleonischen Kriege die Marchesa von Volterra vor den französischen Besatzungstruppen. Er verliebt sich in sie, und ihre Herrschaft über Volterra spielt in den weiteren Bänden eine wichtige Rolle. Auch ihr Neffe, Paolo Orsini, nächster in der Erbreihenfolge der Regentschaft, kommt in den meisten Romanen vor, da er als Fähnrich unter Ramages Kommando segelt.
(Wikipedia)
The chapel was built between 1475 and 1483, in the time of Pope Sixtus IV della Rovere. A basic feature of the chapel itself, so obvious that it is sometimes ignored, is the papal function, as the pope's chapel and the location of the elections of new popes. Furthermore, the building was in some respects a personal monument to the Della Rovere family, since Sixtus IV saw to its actual construction and the frescoes beneath the vaults, and his nephew Julius II commissioned the ceiling decoration. Oak leaves and acorns abound, heraldic symbols of the family whose name means literally "from the oak."
The Chapel is rectangular in shape and measures 40,93 meters long by 13,41 meters wide, i.e. the exact dimensions of the Temple of Solomon, as given in the Old Testament. It is 20,70 meters high and is surmounted by a shallow barrel vault with six tall windows cut into the long sides, forming a series of pendentives between them. A marble mosaic floor of exquisite workmanship describes the processional itinerary up to and beyond the marble screen, to the innermost space, where it offers a surround for the papal throne and the cardinals' seats. The architectural plans were made by Baccio Pontelli and the construction was supervised by Giovanino de'Dolci.
The walls are divided into three orders by horizontal cornices; according to the decorative program, the lower of the three orders was to be painted with fictive "tapestries," the central one with two facing cycles - one relating the life of Moses (left wall) and the other the Life of Christ (right wall), starting from the end wall, where the altar fresco, painted by Perugino, depicted the Virgin of the Assumption, to whom the chapel was dedicated. The upper order is endowed with pilasters that support the pendentives of the vault. Above the upper cornice are situated the lunettes. Between each window below the lunettes, in fictive niches, run images of the first popes - from Peter to Marcellus - who practiced their ministry in times of great persecution and were martyred.
The wall paintings were executed by Pietro Perugino, Sandro Botticelli, Domenico Ghirlandaio, Cosimo Rosselli, Luca Signorelli and their respective workshops, which included Pinturicchio, Piero di Cosimo and Bartolomeo della Gatta. The ceiling was frescoed by Piero Matteo d'Amelia with a star-spangled sky.
Michelangelo was commissioned by Pope Julius II della Rovere in 1508 to repaint the ceiling; the work was completed between 1508 and 1512. He painted the Last Judgement over the altar, between 1535 and 1541, being commissioned by Pope Paul III Farnese.
Luca Signorelli (c1440/50-1523) - Triumph of Chastity: Love Disarmed and Bound, c1509. Fresco, detached and mounted on canvas : detail
The chapel was built between 1475 and 1483, in the time of Pope Sixtus IV della Rovere. A basic feature of the chapel itself, so obvious that it is sometimes ignored, is the papal function, as the pope's chapel and the location of the elections of new popes. Furthermore, the building was in some respects a personal monument to the Della Rovere family, since Sixtus IV saw to its actual construction and the frescoes beneath the vaults, and his nephew Julius II commissioned the ceiling decoration. Oak leaves and acorns abound, heraldic symbols of the family whose name means literally "from the oak."
The Chapel is rectangular in shape and measures 40,93 meters long by 13,41 meters wide, i.e. the exact dimensions of the Temple of Solomon, as given in the Old Testament. It is 20,70 meters high and is surmounted by a shallow barrel vault with six tall windows cut into the long sides, forming a series of pendentives between them. A marble mosaic floor of exquisite workmanship describes the processional itinerary up to and beyond the marble screen, to the innermost space, where it offers a surround for the papal throne and the cardinals' seats. The architectural plans were made by Baccio Pontelli and the construction was supervised by Giovanino de'Dolci.
The walls are divided into three orders by horizontal cornices; according to the decorative program, the lower of the three orders was to be painted with fictive "tapestries," the central one with two facing cycles - one relating the life of Moses (left wall) and the other the Life of Christ (right wall), starting from the end wall, where the altar fresco, painted by Perugino, depicted the Virgin of the Assumption, to whom the chapel was dedicated. The upper order is endowed with pilasters that support the pendentives of the vault. Above the upper cornice are situated the lunettes. Between each window below the lunettes, in fictive niches, run images of the first popes - from Peter to Marcellus - who practiced their ministry in times of great persecution and were martyred.
The wall paintings were executed by Pietro Perugino, Sandro Botticelli, Domenico Ghirlandaio, Cosimo Rosselli, Luca Signorelli and their respective workshops, which included Pinturicchio, Piero di Cosimo and Bartolomeo della Gatta. The ceiling was frescoed by Piero Matteo d'Amelia with a star-spangled sky.
Michelangelo was commissioned by Pope Julius II della Rovere in 1508 to repaint the ceiling; the work was completed between 1508 and 1512. He painted the Last Judgement over the altar, between 1535 and 1541, being commissioned by Pope Paul III Farnese.
Edición especial Día de la Mujer de Uterinando, acontecimiento por mujeres, organizado por el colectivo EPTM (Encuentro Permanente de Teatristas de Morón Independientes)
Exposición:
Nina Signorelli Heim
Agustina Patrón
Gabriela Pascual
Por la sala pasarón:
Miriam De Luca y Laura Rodríguez con "Vidita Cruel"
Ayelén Rodríguez con "Plusvalía, explosión de la explotación"
una performance en trapecio
Cecilia Moreno Ocampo - Vane Conedera
Claudio Sanabria - Jeremías García en "La maté porque era mía"
Maicha Zaballa y Lucía Méndez con
"Suripantas, humor musical"
Ana González Seligra y Mercedes Di Napoli
danzando y cantando contra la trata
Y Ciela Asad compartirá sus poemas
-------------------------------
Foto y Edición: Damián Ríos
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Luca Signorelli
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
Little studious monkey from the Library of Antno Alberí, painted 1501-3, possibly by Luca Signorelli or a member of his crew.
Colorful ceramics lines the walls of L'Etruria Arte Ceramica, Piazza Signorelli Luca, 21, in Cortona, Italy,
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Luca Signorelli
Built in 1290 bc., this cathedral is one of the masterpieces of Italian gothic architecture. Inside it houses Luca Signorelli's Apocalypse frescoes (1449-1451).
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Luca Signorelli
The construction of this chapel (also known as the Cappella Nuova and Signorelli chapel) was started in 1408 and completed in 1444. The chapel was decorated with frescos initially by Fra Angelico and Benozzo Gozzoli in 1447, but most of the frescos were made by Luca Signorelli between 1500 and 1503.
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
Monte Oliveto Maggiore.
The Great Cloister 1426-1443.
Fresco cycle on the Life of Saint Benedict, by Sodoma (1505) and Luca Signorelli (1495).
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
Montepulciano is a medieval and Renaissance hill town and comune in the Italian province of Siena in southern Tuscany. It sits high on a 605-metre limestone ridge, 70 kilometres southeast of Siena. Montepulciano is a major producer of food and drink. Renowned for its pork, cheese, "pici" pasta, lentils, and honey, it is known worldwide for its wine. Connoisseurs consider its Vino Nobile, which should not be confused with varietal wine merely made from the Montepulciano grape, among Italy's best. The main landmarks include:
•The Palazzo Comunale, designed by Michelozzo in the tradition of the Palazzo della Signoria (Palazzo Vecchio) of Florence.
•Palazzo Tarugi, attributed to Antonio da Sangallo the Elder or Jacopo Barozzi da Vignola. It is entirely in travertine, with a portico which was once open to the public.
•The Cathedral of Santa Maria Assunta, or the Duomo of Montepulciano, constructed between 1594 and 1680, includes a masterpiece from the Sienese School, a massive Assumption of the Virgin triptych painted by Taddeo di Bartolo in 1401.
•The church of Santa Maria delle Grazie (late 16th century). It has a simple Mannerist façade with a three-arcade portico. The interior has a single nave, and houses a precious terracotta altar by Andrea della Robbia.
•The Sanctuary of the Madonna di San Biagio is on the road to Chianciano outside the city. It is a typical 16th century Tuscan edifice, designed by Antonio da Sangallo the Elder on a pre-existing Pieve, between 1518 and 1545. It has a circular (central) plan with a large dome over a terrace and a squared tambour. The exterior, with two bell towers, is built in white travertine.
•Baroque church of Santa Lucia has an altarpiece by Luca Signorelli.
•The walls of the city date to around the 14th century.
Luca Signorelli (c1445/50-1523) - Holy Family with Zacharias, Elisabeth and the young John the Baptist, after 1512
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
Monte Oliveto Maggiore.
The Great Cloister 1426-1443.
Fresco cycle on the Life of Saint Benedict, by Sodoma (1505) and Luca Signorelli (1495).
Luca Signorelli (c1440/50-1523) - Man on a Ladder, 1504-5 (on loan from a private collection). Figure has just removed nails attaching Christ to the Cross, part of a larger altarpiece
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Luca Signorelli
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma