Whenever I speak to someone who has traveled to Siena, someone else nearby always seems to chime in: “Siena? I loooove Siena!” Located in the heart of Tuscany, Siena is historic, atmospheric, and laid-back – exactly the kind of Italy people dream about.
Siena was medieval Florence’s archrival. And while Florence ultimately won the battle for political and economic superiority, Siena still competes for the tourists. Sure, Florence has the heavyweight sites. But Siena seems to be every Italy connoisseur’s favorite town.
Any visit to Siena needs to start at Il Campo. This square is the heart of Siena – both geographically and metaphorically. On the Siena city map, it sits right in the middle, surrounded by the various neighborhoods.
The square still looks and feels like it did back in the 1300s – Siena’s Golden Age. Back then, it was a city of rich bankers and businessmen. All Europe passed through here, because Siena was situated on the main north-south highway to Rome. With a population of 50,000, Siena was about as big as Paris. With its large army, it was a rival of Venice, Genoa, and it’s closest neighbor, Florence.
The focus of Il Campo is the City Hall – not the cathedral, as with most European cities. That’s significant. You see, originally, this area was far from the old city center, which gathered around the cathedral or Duomo. Today’s piazza was just called a field, or “campo,” outside the former city walls. But by the 1200s, the energetic city was expanding. This field became a thriving marketplace. Meanwhile, as Siena was becoming more democratic and secular, power was shifting away from the bishop and to the secular powers. By 1300, the center of the city had moved here to Il Campo – and the focus was the City Hall.
Today, the square is arguably the best in Italy. The buildings and pavement are all a harmonious red-brown color. It’s the same color as the soil they stand on – a color known to artists as “Burnt Sienna.”
Il Campo is still the city’s gathering place. It’s where locals text each other and say, “Meet you there in ten.”
Il Campo is the historic junction of Siena’s 17 traditional neighborhoods, called contradas. These neighborhoods are fiercely competitive. But here at Il Campo, everyone can meet and put their guard down – it’s considered neutral territory.
Il Campo is the site of Siena’s international claim to fame – the Palio horse race. Twice each summer, crowds assemble here to watch horses race around the square.
As big as this square is, it’s still unbelievably small for a horse race.
Picture the scene: For weeks, Siena has been building up for the race. Of the 17 neighborhoods, 10 are selected. The tension builds: the horses are trained, jockeys are hired, bets are placed.
Il Campo is turned into a race track. They put up bleacher seats around the perimeter. They haul in clay and pack it down to make the track. Mattresses are put up at the sharpest corners to protect the walls and the buildings…and the horses and riders, who often crash.
Finally comes race day. The crowds start arriving very early. In the surrounding apartments, the owners have invited their friends to watch from the best spot in town – the balconies. Some splurge for a reserved bleacher seat. Everyone else packs into the center, where it’s standing-room only. By evening, Il Campo is stuffed to the brim with 60,000 people.
The horses are led in: Ten snorting horses and their very nervous riders. They approach the starting line. The starting point is on your left if you have your back to City Hall – the upper left corner of the square.
The horses line up, the crowd is hushed, and for a moment, you can hear a pin drop…
Then they’re off! The crowd roars, and the horses race like crazy, heading clockwise around the square. The jockeys play bumper cars. There’s only one rule: there are no rules. Horses skid. Horses tumble. Jockeys, forced to ride bare-back, hang on for dear life, and many bite the dust. The horses go once around the square – about 400 yards. Then once again. After a third lap, the crowd goes wild, waving their scarves as they approach the finish. The horses streak across the finish line. A winner is declared, and the crowd goes berserk. Or rather, the winning contrada… one-seventeenth of Siena… goes berserk.
After months of preparation, it’s all over. The whole thing takes barely 90 seconds. The winner is awarded the traditional prize. By the way… the “winner” is not the first jockey – it’s the first “horse” to cross the line, even if the jockey fell off. Watch the video above and see how many riders fall off!
The winner’s prize is not money. It’s a simple banner of the Virgin Mary – that’s the so-called “palio” that gives the Palio di Siena its name. But the winning neighborhood has won something even more precious – bragging rights for the coming year. And that’s gone on here virtually every year for nearly 400 years.
With its skyscraping tower, the City Hall dominates the square. During Siena’s Golden Age, around 1300, this was the center of the city. Even today, the whole focus of Il Campo flows down to the City Hall.
the Sienese called their City Hall the “Palazzo Pubblico” – the Palace of the People. In medieval times, this was a big deal. This magnificient building symbolized a republic whose people could govern themselves. They were independent from kings, popes, and the Holy Roman Emperor. And proud of it.
Today, the building is still home ot the city government. Inside, there’s also a museum, with a fascinating freco showing 14th-century Siena as a kind of utopia governed by enlightened citizens. it’s clear that proud Siena considered itself the vanguard of Western civilization.
The tower was built around 1340. At 330 feet, it’s still one of Italy’s tallest towers – or rather – tallest “secular” towers. In most cities, it was the church bell tower that was the biggest thing in town. This tower represents the rise of secular society, a movement that first appeared here in Tuscany, then spread through Europe with the Renaissance. The tower stands like a 330-foot declaration of independence, as Europe moved out of medieval repression and into the modern age.
At the base of the tower is a small chapel. It was built in 1348… the year the bubonic plague swept through Europe. This chapel was a way of thanking God for sparing Siena from the Black Death.
The plague was a watershed event in Siena’s history. They should also thank God that the heavy tower – just plunked onto City Hall with no extra foundation – still stands. These days, the chapel is used to bless the Palio contestants before the race… and it’s also used as a temporary emergency room for doctors during the horse race.
City Hall’s main decoration is a medallion with a stylized sun. That’s the logo of one of Siena’s famous residents – Saint Bernardino. His mission was to bring peace between Italy’s warring factions…the neighborhoods. Bernardino would invite the contradas to meet here on Il Campo – neutral territory. He’d preach peace, they’d make up, and seal it with what was called a “bacio di pace”… a “kiss of peace.”
The sun logo became a symbol of the city. The most famous city symbol is the she-wolf. Notice the two she-wolf gargoyles on either side of the sun. You can see it in the previous picture. They lean out like they’re saying, “Hey tyrants – Don’t mess with Siena.”
The City Hall’s windows are distinctly Sienese. They’re divided into three windows each, all topped with a pointed arch. Inside the arches are little black-and-white shields – those are another symbol of the city. And near ground level notice the iron rings… these were for tying up your horse. The fixtures you see above them are for flags. Features like these are on many old palazzos across the old city.
For six centuries, this public fountain has brought water and joy to countless citizens of Siena. It’s a monument by and for the people. In the 1340s, the Sienese Republic financed a massive engineering project to bring fresh water to this spot from hillsides 15 miles way. Then in 1419, the communal water source was decorated with this marble enclosure by the Sienese sculptor Jacopo della Quercia. The Fountain of Joy got its name from the delight it gave the Sienese to have fresh water, completely free.
Della Quercia’s carved reliefs link the Sienese with their illustrious past. In the center is the Virgin Mary. She’s seated, cradling baby Jesus. The other robed women represent Virtues. To the right of Mary, Lady Justice – holding her scales and sword – oversees the free distribution of water to all. Other reliefs honor famous mothers through the ages – the bringers of life and sustenance.
In a way, even the water spouts are mothers of a sort. They’re she-wolves – the legendary creature that raised Romulus and Remus, who founded Siena.
Check out this relief. It shows God creating Adam by helping him to his feet. It’s said that this reclining Adam later influenced Michelangelo when he painted the Sistine Chapel.
By the 1800s, the fountain was in need of repair, and they replaced it with this copy. The original statues are exhibited in a museum in town.
Via di Citta – Via di Citi is Siena’s main street today, just as it has been for centuries. In fact, the city looks much as it did in the 1300s, during Siena’s Golden Age. There are brown-stone palazzos that house apartments and shops. And, just as it has been for centuries, the 17 neighborhood divisions – the contradas – are still strong. Each is a self-contained world, with its own parish church, it’s own neighborhood well, and a square where people gather. Each is represented by a mascot – usually an animal, like an eagle, porcupine, unicorn, wolf, and so on. You’ll see these symbols posted on many street-corners.
We’ve been walking through the Forest contrada – but at this intersection we are stepping from Forest neighborhood into the Eagle contrada… that would be a black eagle on a yellow background. When you start looking, you’ll see these everywhere as you walk about Siena.
Each contrada has its unique colors. These colors are displayed by proud locals on flags, scarves, and tee-shirts. The contradas still play an active role in the life of the city. Contrada pride is evident year-round in Siena’s parades. If you ever hear the thunder of distant drumming, try to make your way there. We heard it on first night, but missed the fun. There’s a good chance the drumming is a contrada on parade, featuring medieval banners and flag throwers.
Chigi-Saracini Palace – This fortified noble palace has a graceful curved facade that echoes the bend in the street. It dates from the 13th century and is typical of a rich man’s home during the Golden Age.
We got lucky and were able to peek into the palace courtyard. There is a photogenic well surrounded by a little cafe. Mansions like this enjoyed a direct connection to the city aqueduct. The loggia is decorated with busts. These are the partiarchs of the powerful Chigi-Saracini family. The vaults are painted in the popular Renaissance style called grotesque. “Grotesque” is named for the style found in ancient Roman grottoes… grotto-esque, or grotesque.
The holes in the walls are actually part of the original structure. They were used to hold wooden beams for scaffolding – both for the initial construction and for ongoing maintenance.
The palace’s last owner, Count Chigi Saracini, loved music and had no heirs. So he willed his estate to fund the music academy that operates here today. It hosts festivals every summer, with nightly concerts, international talent, and affordable tickets.
Siena’s population is about what it was back in medieval times – around 50,000. But only 18,000 of those live here in the center, within the old walls. Many people work, of course, in the tourist trade – manning shops and restaurants.
If you were to own one of these homes in the city center, you would have to abide by strict rules protecting the historic exterior. Everything has to still look like it did in the 1300s. All the shutters, for example, have to be the same color. This is deceiving, making it look like one big building, when it’s actually subdivided into several separate apartments, for several different families. Inside, apartments have all the modern conveniences. And they’re expensive, some of the most expensive in Italy.
Piazza Quattro Cantoni – The intersection called Quattro Cantoni, or four corners, is a delightful place to study the city.
The column displays the she-wolf – the city symbol. This particular column is modern – from 1996, and made from Carrara marble. It functions as a flag holder for this particular contrada. We’re still in the Eagle district. That’s clear from the eagle shaped fountain on the piazza and the street-sign plaque on the corner.
But beware. Just up the street on this block is a ready-to-pounce panther – the rival contrada.
Compare the various buildings. There’s a tall stone tower on the right just as you enter the square. In violent medieval times, this was the kind of home you wanted. It had only one door – 30 feet above the street level and reachable only by ladder, which could be pulled up if necessary.
As one wanders, one is struck that even on this relatively wide and busy street, Siena seems to keep its historic ambience. You notice that no one is selling things on the streets or plazzas – the city prohibits unlicensed foreigners from selling their wares on the streets. And Siena was the first European city to eliminate automobile traffic from its main square – back in 1966. What a great year. 🙂 Imagine if your hometown did the same out of your downtown area…
Most could not live without their car. Neither can many Sienese. That’s why some cars are allowed. Residents are allowed special permits to drive within the city center. But driving these narrow streets is a pain, so many settle for motorbikes.
The Duomo Exterior – Take in this architectural festival. The church is made of shining white stone, and striped with black. The facade is a kaleidoscope of green, white, pink, and gold.
It looks a a bit like a medieval altarpiece.
Like an altarpiece, it’s divided into sections. And it’s adorned with patriarchs and prophets, studded with roaring gargoyles, and topped with prickly pinnacles. Imagine pilgrims arriving at this church, its facade trumpeting the coming of Christ and the true path of salavation.
The current structure dates back to 1215. But the major decoration was done during Siena’s heyday, roughly 1250 to 1350. The lower half was done first, before 1300, by Giovanni Pisano. It favors the older Romanesque style – note the three doors, with their round arches. The facade’s upper half is full-blown Gothic – pointed arches, pinnacles, and lacey stonework. The prickly features are meant to suggest the flickering flames of the Holy Spirit. The church is dedicated to the Virgin Mary, and there she is way up high in the golden mural – supported by angels and being crowned by Christ as the queen of heaven.
This cathedral is certainly grand. But it’s actually the rump of a failed vision.
The church’s bell tower was built around 1315. It’s striped with black and white marble (or, actually, the black is really a dark green). The unknown architects divided it into six stories and topped it with an octagonal pyramid. The tower soars up 250 feet, but it looks even taller, thanks to an optical illusion. Notice how the the stripes get narrower toward the top, making the upper part seem farther away.
The Duomo sits atop Siena’s highest point. The bell tower was a beacon for pilgrims who were traveling the Via Francigena, the “French Road” between Northern Europe and Rome.
To the left and right of the facade are two free-standing columns. Atop the columns are our old friends, the she-wolves, the city symbol. Looking close – you can see beneath the wolves are little babies, suckling the wolf’s teats. Legend has it that Romulus and Remus were abandoned in infancy, raised by wolves, and grew up to found the city of Rome. Later, the son of Remus rode north on a black horse to found a city and name it after himself – Senio, or Siena. Like ancient Rome, Siena was a self-governing republic. So these statues say it all: The church was built and paid for not by some tyrannical pope but by the people and the republic of Siena.
This building is called Santa Maria della Scala. It once housed the many medieval pilgrims who came to visit the church. Its labyrinth of cellars were carved out of volcanic tufa stone and finished with brick. Now they house an interesting museum with some impressive old frescoes and the original statues of the Fountain of Joy.
The Duomo Interior – Sights in the Nave – This interior is unique, with a forest of zebra-striped columns. Following the longest columns upward, and there you’ll see a row of 172 popes peering down. These are the 172 popes who reigned from the time of St. Peter until the 12th century.
If you look closely at the busts, you’ll see the same four faces repeated over and over. The popes seem to be looking out over the inlaid art on the church floor.
This floor mosaic depicts our old friend, the Siena she-wolf suckling the twins. Represented as a wolf, the proud city of Siena is the center of the Italian universe. It’s orbited by less cities like Roma (the lumbering elephant)… and Pisa (a curious hare). But Siena’s arch-rival, Florentina, or Florence, is a fierce lion.
Colorful mosaic marble panels like this are found throughout the church. It’s the work of some 40 different artists, done over almost two centuries, from the 1300s until the mid-1500s. This she-wolf panel is some pretty secular stuff for a church, but it shows Siena’s civic pride and cosmopolitan outlook. The church’s mosaics span the pagan, Christian, and secular worlds.
This is the ancient Greek prophetess known as a sibyl. It’s the first in a row of sibyls that parade up the nave to the front – just as the Christian faithful process to redemption at the main altar.
This scene depicts Fortuna, or Luck. Lady Luck is in the lower right. She parachutes down to earth, where she teeters back and forth precariously, balanced between a ball and a tipsy boat.
Perhaps the whims of Fortune is an unstable foundation for life? In the center are pilgrims seeking more reliable truths. They wind their way up the precarious path to the top, where Lady Wisdom sits. She’s accompanied by wise Socrates. In the upper right you’ll see “Crates,” the world’s richest man. He’s learned that money just doesn’t buy happiness, so he’s dumping his jewels out. They fall to earth… and the cycle of Fortune begins again.
The Piccolomini Altar is made of white Carrara marble, and stands three stories high. It was built in the 1480s for a well-known member of that Sienese family who became pope.
The Piccolomimi Altar’s most interesting feature is a single statue – by Michelangelo. In 1501, 25-year-old Michelangelo was asked to sculpt 15 statues for this altar. But he ended up finishing only one statue – it’s St. Paul, in the lower right. Bearded Paul poses with great gravitas. He gazes into the distance like the visionary he was.
Paul has the intense look of Michelangelo’s Moses. He has the broken-nosed self-portrait of the sculptor himself, and the relaxed hand of Michelangelo’s David. In fact, it was because Michelangelo got sidetracked doing David that he ended up abandoning this less-interesting altar.
Sights near the Dome – Here is a picture gazing up into the dome. It sits on a 12-sided base. The dome, from the mid-1200s, was the marvel of its day. It was built almost a century before Brunelleschi’s dome in Florence. The technology of creating a truly hemispherical dome like the ancients had yet to be mastered.
This dome has a coffered ceiling… or does it? Looking closely, you realize those are not sunken panels. They’re actually a painted illusion. They narrow as they rise to make the dome look taller than it actually is.
The church is glorious, but it was intended to be even bigger than it is today. Standing under the dome, if you look into the right transept and mentally blow a hole in the wall, you’d be looking down what was to have been the long central nave of a massive church. That is, if the original plan had been completed.
The rose window, made in 1288, is 20 feet across. It’s a kaleidoscope of colors and intricate designs. And if you zoomed in close, you’d see that the center panel depicts the Virgin Mary. She’s dressed in blue and red, sitting in a holy bubble as winged angles carry her up to heaven. The window is dedicated to the Virgin Mary… as is the church and the city itself.
The work is by Siena’s groundbreaking artists, Duccio. Around the year 1300, Duccio pioneered the revolution in realism in 3-D, setting the stage for the Renaissance a century later. The best place to see Duccio’s work is in the nearby Duomo Museum. There, you can get up close with this rose window, because there’s where the original rose window is displayed. This one is a copy.
Looking at the picture above, see the wooden pole(s). These 60-foot-tall wooden poles are dear to any Sienese heart. They’re flagpoles, 700 years old. These flagpoles once held the battle flags of Siena’s arch-rival, Florence. They were captured during the pivotal Battle of Montaperti of 1260. I was found near Siena.
Picture the scene: 20,000 Sienese soldiers squared off against 35,000 Florentines. All day long, the two armies battled back and forth. Then one brave Sienese soldier had a plan. He went undercover dressed up like a Florentine, snuck up behind Florence’s standard-bearer, and attacked. Florence’s flag fell to the ground. The army was rattled. It lost its bearings and confidence. And Siena seized the moment to counterattack and win. It was the city’s finest hour. This victory at Monaperti ushered in Siena’s 80-year Golden Age.
And today, the flagpoles stick out here like an eternal flip-of-the-finger to their perennial rival.
Pisano’s Pulpit – The pulpit is octagonal, made of the finest Carrara marble. Its columns rest on the backs of lions, symbols of Christianity triumphant. Like the lions, the Church symbolically devours heresy and nurses its cubs.
This pulpit, from 1268, is the work of Nicola Pisano. He’s often called the “Giotto of sculpture,” a precursor of the Renaissance. He revived the ancient style – like the classical columns. And the relief panels are carved in the style of an ancient sarcophagus.
Looking the relief panels – there are seven – and they tell the life of Christ in vivid detail. Parts of these were done by Nicola’s son Giovanni. Above is the Crucifixion panel – look how realistic Christ’s anatomy is – surprisingly so for a work more than a century before the start of the Renaissance. Find Mary, at the bottom left of the scene. She swoons into the arms of the other women.
To the right, a Roman soldier turns to look back. It’s an easy, natural motion that breaks the stereotype of stiff, frontal medieval statues.
Here is Judgement Day. On Christ’s right hand are the saved. They look almost hypnotized by Christ’s awesome presence. And on the left of Christ are the damned. They look desperate as they anticipate their fate.
The budding realism of scenes like these was very influential. It influenced generations of Renaissance sculptors to come – sculptors like Donatello and even Michelangelo.
Sights in the Transepts – Floor Mosaic – Slaughter of the Innocents
Wicked King Herod is on the left, sitting enthroned amid Renaissance arches. He orders the massacre of all babies to prevent the coming of the promised Messiah.
It’s a chaotic scene of angry soldiers, grieving mothers, and butchered babies. The mosaic was a constant reminder to locals that a republic ruled by a tyrant always brings trouble.
The work, by a Sienese artist of the late 1400s, clearly shows Renaissance realism and human emotion.
The mosaic was inlaid with a colorful array of marble. The yellow marble is a Sienese specialty quarried nearby.
Just beyond Pisano’s Pulpit, we find a chapel door that leads us to a chapel dedicated to St. John the Baptist. His right arm is supposedly housed here. But the chapel’s highlight is a bronze statue of John.
Donatello’s St. John the Baptist – The rugged saint is dressed in his famous rags. Appreciate John’s expressive face, his emaciated flesh, and the realistic stance of his body. His ragged clothes almost seem to ripple – like they’re animated from within by John’s strong spirit.
The statue is by Donatello, the great Florentine sculptor who pioneered Renaissance realism two generations before Michelangelo. When Donatello created this, he was an old man, and his style was becoming passe’ in his hometown of Florence. But Siena treated him like a rock star. He was invited to build bronze doors for this church. He didn’t complete the doors, but he did finish this bronze statue, in 1457.
Looking up – high up, we see the small dome of this chapel. I like the little cherubs, playfully dangling their feet.
The Chapel of the Madonna del Voto – Stepping inside you get a feel for why Bernini is considered the greatest Baroque sculptor. It’s sumptuous – a riot of colors, statues, and architecture. Bernini was from the 1600s. For his artistry and enormous influence, he’s often called the Michelangelo of the Baroque era. He designed this chapel in the 1660s for a member of Siena’s wealthy Chigi family, a man who became pope.
Mary Magdalene stands in a state of spiritual ecstasy, flickering like a flame – up toward heaven.
St. Jerome lovingly embraces a small crucifix. He plays the crucifix like a violinist lost in beautiful music.
This chapel is classic Baroque – a multi-media extravaganza. There’s colored marble, statues, stained glass, paintings and a dome. 🙂
Back on earth, there’s the glorious altar. Golden angels are holding up the golden frame of an icon-like painting.
Taken together, the whole chapel creates an artistic ensemble that offers the faithful a glimpse of heaven.
The framed painting is the Madonna del Voto. Mary and Baby Jesus are both adorned with real crowns of gold and jewels. The painting is not by Bernini. It’s much older, by a Sienese master from the mid-13th century. In typical medieval fashion, the scene is set in the golden light of heaven. Mary looks like an orthodox icon – almond eyes, long fingers, and golden folds in her robe. She tilts her head and looks out sympathetically, ready to listen to the prayers of the faithful.
This painting of Mary is dear to the hearts of the Sienese. For untold generations, they’ve prayed to her for help. It was Mary, the Sienese believe, who helped them win the Battle of Montaperti, which ushered in their Golden Age. This Modonna del Voto is the Mary to whom the Palio is dedicated. And, for generations, she’s helped everyday people in need.
So in thanks, locals come to this chapel of the Madonna del Voto to give offerings – that’s what a “voto” is. To leave an offering yourself, you can put a coin in the box to light a candle.
Some of the offerings that Siena’s faithful have left are seen on this wall. We see some silver hearts and medallions displayed. On the other side of the chapel door, you’ll find a glass display case on the wall that looks like a jewelry store’s front window. This has rings, necklaces, and other precious items given to Mary by grateful worshippers.
Our next stop is the Piccolomini Library. Both the altar and the library were dedicated to that powerful family from Siena. The Piccolominis were nobles who got rich back in medieval times, as bankers and businessmen. They went on through the centuries to produce many important people: two popes, many generals, bishops – even a famous opera singer.
The Piccolomini Library – This rich, colorful library captures the exuberant, optimistic spirit of the 1400s, when humanism and the Renaissance were born. The library was built by the Piccolomini family to honor one of their most illustrious family members – Aeneas Piccolomini, Aeneas was born in Siena and grew up to be one of the most celebrated people of his age – Pope Pius II. Because of his brilliant intellect, expansive personality, and passion for life, this pope set the tone for the Early Renaissance. In fact, many have called Pop Pius II “the first humanist.”
The radiant frescoes that line the walls tell the pope’s story, In 10 episodes. They’re the work of the painter Pinturicchio, done around the year 1500. Each of the ten scenes is a dramatic snapshot. And each scene is framed with an arch, as if the artist was opening a window onto the spacious 3-D world that we inhabit.
Scene 1 – Leaving for Basel – The story begins long before he became Pope Pius II. Here, he’s just a restless 27-year-old kid form Siena named Aeneas. We see young Aeneas mounting his white horse and riding off. He pauses to take one last look back at his hometown.
Aeneas is leaving home to seek his fortune. This was just the first of many adventures in his sometimes sunny, sometimes stormy life. Aeneas has soaked up all the classical learning that Siena has to offer. Now he heads off to a church council meeting in Switzerland. He makes a name for himself by taking a bold stand – he actually sides against the reigning pope.
Scene 2 – Meeting James II – Aeneas charmed King James and his well-dressed, educated, worldly crowd. Aeneas would go on from here to visit London, survive a storm at sea, and broker a peace deal between England and France.
And, he even found time to father two illegitimate children – or so they say.
Scene 3 – Aeneas Crowned by Frederick III – When we next see Aeneas, he’s a thousand miles away, in Vienna. Here he found work as a secretary to the German king. In this fresco, Aeneas kneels to receive the laurel crown of a poet. Aeneas had become famous as the author of a best-selling novel, “The Tale of Two Lovers.” This story featured a married Sienese woman. It was a kind of Madame Bovary of the 15th century. Aeneas also penned romantic poetry, racy stories, and a comedic play. He’s best known for his frank memoirs, telling the unvarnished story of his colorful life. Now in his mid-thirties, Aeneas was the toast of Europe – an esteemed writer, speaker, diplomat… a lover of the arts and of pretty women.
In other words, he was the very essence of his times – a “uomo universale – or Renaissance Man. But as he approached age 40, his life changed dramatically.
Scene 4 – Submitting to Pope Eugene IV – Here, Aeneas kneels before the pope and kisses hit foot.
Nearing forty, Aeneas had a spiritual crisis. He became convinced he was a miserable sinner. He quickly journeyed to Rome where he begged the pope for forgiveness. He repented for all the wild things he’d done in this youth, especially chasing after women. Well actually, in his autobiography, he confessed that it was time to change anyway. He’s lost interest in women – and they lost interest in him. 🙂
Aeneas gave up wine, women, and song, and became a priest.
Scene 5 – Introducing Frederick III and Eleanora – Aeneas rose quickly through the church ranks. Here you can see he’s already Bishop of Siena. You can see his white pointed bishop’s hat. Notice this cathedral’s bell tower – it’s in the distance. Aeneas was now a man of the cloth, but he never gave up his secular connections and romantic spirit. Here he’s welcoming his old friend the Emperor to his hometown. Aeneas offered Siena as a romantic gateway for Frederick and his fiancee.
It seems Aeneas was a true schmoozer. H always seemed to make the scene at every important event in Europe. And his star was rising.
Scene 6 – Aeneas Made Cardinal – Here he kneels before the pope. His head is shaved and his hands are joined in humble prayer. He’s being made a cardinal – receiving the traditional red hat. Notice how the artist uses all the latest 3-D effects. Floor tiles and ceiling coffers create receding lines that lead into the distance. He tears down palace walls in order to let us peek inside, witnessing the day’s events, both big and small.
Scene 7: Aeneas Piccolomini becomes Pope Pius II – In 1458, at age 53, Aeneas was elected Pope Pius II. Carried in triumph, he blesses the crowd. As pope, he spoke out against enslaving newly-baptized natives in the New World. But, surprisingly, given his wild youth, his reign was rather conservative. One of his first acts as pope was to crack down on heresies…including some of the very anti-pope doctrines he himself had championed in his youth.
Scene 8 – He Proclaims a Crusade: As pope, he called upon all of Europe’s leaders to send troops on a Crusade. The mission was to liberate the Christian city of Constantinople… modern day Istanbul… which had recently fallen to the Ottoman Turks.
Scene 9 – He Canonizes St. Catherine: From his papal throne, Aeneas looks down on the mortal remains of a woman much-beloved throughout Europe – Catherine of Siena. Here, Aeneas proclaims Catherine a saint, nearly a century after her death. The corpse clutches her symbol, the lilly. The well-dressed candle-holders in the foreground pose proudly. Catherine was born, raised and died right here in Siena. Her piety inspired popes and kings to find peace in war-torn Europe.
Scene 10 – He Arrives in Ancona: Old and sick, the pope now has to be carried everywhere on a litter. He’s preparing to board a ship to fight the Turks in the Crusade. it would prove to be his final adventure. The Crusade petered out, and Aeneas, disheartened, died.
But his legacy of humanism lived on. Countless generations read his memoirs and were inspired to live lusty lives of their own. His pagan spirit fueled the growing Renaissance. Even though Aeneas himself became a pious pope late in life, he never lost his frank and self-assured perspective. He wrote: “I do not deny my past. True, I have been a great wanderer, wandering away from the right path. But at least I realize it.”
Be sure to circle around a second time to appreciate the collection of musical manuscripts. These are made of sheepskin and beautifully illuminated, or illustrated.
They’re huge – that’s so many singers could read off the same single sheet of music at the same time.
If you know music, you may note that the “notes” don’t make a lot of sense. that’s because 15th-century Italias used a sliding C clef, not the fixed C clef or F or G clefs that musicians know today. This early clef marked middle C, and the melodies could be chanted in relation to it.
Look at the picture I included above – appreciate the fine painted decorations – the miniature figures. Check out the gold-leaf highlights.
Check out the blue god of wind with the big hair – totally wild. By the way, the blue tones are made from especially -precious lapis lazuli, an expensive pigment imported all the way from Afghanistan. All of this exquisite detail was lovingly crafted by Benedictine monks for the glory of God.
The Unfinished Church- As we make our way to Piazza jacopo della Quercia, consider the tragic tale of Siena’s downfall. It starts in the early 1300s, with Siena in the midst of its Golden Age. As we’ve seen, it had a brand-new City Hall, a proud Tower, and a public water system. The population was nearing 70,000. And this church, the Domo, was glorious – with a soaring belltower, a groundbreaking pulpit, and Duccio’s radiant stained glass window.
The church was glorious, but the Sienese wanted more. You see, their arch-rival Florence had begun building an even bigger cathedral. Proud Siena decided to top them. They’d expand their Duomo and make it even bigger than the one in Florence – in fact, the biggest church in all of Christendom. They began construction, and then… well, that construction zone is basically what we’ll see now.
This piazza – onw a parking lot – is all that remains from that proposed church expansion. You can still see some of the unfinished construction. Like the green-and -white-striped columns and arches. These were built to be part of the church. But they were never finished, and are now filled in with brick. The parking lot has sets of white stones in the pavement. These mark where a row of pillars would have been . There are a few window frames, but they were never fitted with stained glass. And there’s no roof at all.
But envision the size of this audacious vision. Had the church extension been built, this parking lot would have been the new nave. But look at the far end, at the white wall with windows open to the sky (two pictures back). That wall would have been the entrance.
Worshippers would have entered from there, and walked up the grand nave to stand under the church’s dome. So today’s cathedral – though huge – would have been little mor ethan the transepts.
But obviously, their grand plans ended in disaster. The disaster known to Europe as the Black Death – the bubonic plague. In 1348, Siena was a wealthy city with 70,000 people. Two years after the plague struck, it was 45,000. Siena never recovered.
The Sienese saw the plague as a sign from God, punishing them for their pride. It killed the city’s will. They canceled their plans for a bold church and humbly faded into the background of Tuscan history.
The sights on the Way to Piazza di Indipendenza – From here you can understand the problems with building a church that was too big for this tiny hilltop. See how the church sticks out, high above the lower street level. They built a big church anyway and propped it up with huge foundations.
The cathedral “crypt” was actually a church back in the 12th century. it was filled in with dirt to prop up the Duomo. Today, you can go inside and see the oldest frecoes in town.
We keep descending steps, nicknamed “The Steps of St. Catherine.” She would have clmbed them each day on her walk from home to her work in that medieval hospital by the Duomo entrance.
At the bottom of the stairs under the back end of the Duomo we find the church’s Baptistery. (pictured above).
This tucked-away cave of art is also part of the new church’s foundation. It has an ornate ceiling and a baptismal font by della Quercia, Ghiberti, and Donatello – an incredible Renaissance masterpiece… which we could not see since it was being renovated.
As we leave the Duomo area, we make some lefts and rights as we continue on the Via di Diacceto. The picture above is from a viewpoint that provides a beautiful view of the city.
Gazing into the distance, we see the towering brick Church of San Domenico. This Dominican church houses a few relics of St. Catherine of Siena. On display is a page from her devotional book. And you can see her thumb in a reliquary. And the highlight is Catherine’s Head.
What you actually see is a clay mask that surrounds her skull, but you can see her actual teeth showing through. And it is her head.
Catherine was born in 1347 here in Siena. She was the child of a humble dyer of wool. At age 16 she became a Dominican num. For the next three years, she locked herself away, living the life of an ascetic. This culminated in her experiencing a supernatural vision. She saw herself getting married, and her bridegroom was non other than Jesus Christ.
Later, she had another vision. This was a heavenly command – she was instructed to find peace for a war-ravaged Italy. She began writing eloquent letters to Europe’s movers and shakers – kings, bishops, and popes. They were so moved that Catherine was invited to see the pope. She traveled to Avignon, France, where the pope had taken up residence, a move that bitterly divided Europe. Catherine charmed the pope and his court with her intelligence, sincerity, and reputation for holiness. Still only in her twenties, she achieved her greatest triumph: she convinced the pope to return the papacy to Rome. Shortly after that, she died – only 33 years old.
She was later made a saint by Siena’s Pope Pius II, as we saw inside the Piccolomini Library. And today, Catherine is revered as the patron saint of Europe.
Piazza di Indipendenza – The piazza celebrates the creation of th emodern Italian nation in 1870. It’s marked with a loggia – that is, a shaded arcade with three arches. Under the arcade are busts of the first two Italian kings. Stacking history, that 19th-century neo-Renaissance loggia is topped by a Gothic palace. That, in turn, i stopped by an even older medieval tower.
For eight centuries, this neighborhood has been a bustling business center of the town. Remember, Siena sat along the Via Francigena. That was the main thoroughfare that ran from England, through France, Switzerland, and the Alps, all the way to Rome. It brought countless pilgrims, and they brought money.
Walking up Via di Citta’, we catch glimpses on the right Il Campo – we’re right back to he center of Siena.
This fancy loggia with the three arches is the Loggia della Mercanzia – or loggia of the merchandise. Here businessmen would display their goods in shaded comfort. The impressive structure was built in around 1420 as a kind of headquarters for the union of merchants.
It was perfectly located – here on Siena’s main street, next to Il Campo, and right by the main intersection of the town.
By the way, the loggia – once for merchants – was subsequently purchased by Siena’s nobility. It then became the clubhouse of the local elites. To this day, it’s a private, ritzy, and notoriously out-of-step-with-the-times mens’ club. The inscription over the door reads “Gli Uniti.” I guess that whether its merchants, nobles, or good ole’ boys, the motto still applies: “Let’s stick together.”
The Intersection of Via Banchi di Sopra and Via Banchi di Sotto – In medieval times, this was a main intersection, just as it is now. These two streets brought pilgrims and other travelers into the city, from the Via Francigena.
Just off frame, to the left and going uphill, is Via Banchi di Sopra, which means “upper row of banks.” To the right – and seen in the picture above, is Via Banchi di Sotto, the “lower row of banks.” Both streets were once lined with tables, or benches, to display their merchandise. In Italian, these benches are called “banchi.” Whichever route pilgrims took on their way to the Duomo, they couldn’t get away from Siena’s aggressive salesmen. These merchants paid rent to the city to put their bench out. By the way, if the owner neglected to pay the rent for his space, thugs came along, took his bench and broke it.
They took his bench – that’s “banco” – and broke it – “rotto.” “Banco rotto” – that’s where we get our English word for… bankrupt! At least that what I heard from a tour guide… 🙂
For centuries, Via Banchi di Sopra has been lined with shops. Originally, back in medieval times, teh Sienese specialty was selling simple wool clothing. Strolling up this street, it’s got high fashion and Siena’s finest shops. In the evening, this street is a main drag for strolling locals, who just love to grab an ice cream cone-to-go and make the scene for their passeggiata.
This is Nannini’s – it is a venerable cafe and pastry shop, or “pasticceria.” It’s famous among locals for its traditional Sienese sweets.
In the back you’ll find Sienese “cantucci” – that’s biscotti, with almonds baked in. Those biscotti, invented right here in this region, are now found in coffee shops worldwide.
The Sienese love to dunk them into dessert wine, or “vin santo.” Nannini also sells traditional “ricciarelli,” or almond cookies. And there’s “panforte” – a dense fruitcake with nuts that’s especially popular at Christmas time.
Everything in the cases can be purchased – many can be sliced smaller you can get a sampling for just a few euros.
The imposing building with the columns, statues, and pediment, is the Tolomei family palace. It’s now a community center for the Owl Contrada. The she-wolf column serves as the Owl’s bulletin board. They post their flags, wedding announcements, births, obituaries, and community festivals here.
Fittingly, we’re passing by Siena’s finest stretch of old palaces. Remember, Siena got rich by trading with medieval pilgrims. By 1300, it was one of Europe’s most powerful and progressive cities. They built the City Hall and the Tower, and they were constructing a cathedral that would be the biggest in the world.
But then came the plague.
The 1348 plague devastated Siena. In the chaos, Florence go the upper hand on its arch-rival. With the help of Spain, the Florentines conquered the struggling city-state of Siena. And Siena faded into irrelevance.
But Siena’s loss became our sightseeing gain. Because the city was just too poor to rebuild, they ended up pickled in a medieval brine. Today, Siena is a delightful mix of medieval ambience and modern energy. Like the Palio – it’s not just some hokey tourist event. The contradas get into it as much now as they did centuries ago. And on the day of the big race – when you’re packed onto that square with 60,000 people – believe me, you feel it: medieval Siena still lives.
Piazza Salimbeni – This square captures the essence of Siena’s greatness. It’s bounded on three sides by three old palazzos. Note the three styles. There’s a Gothic palace in the middle. Its windows have pointed arches and are divided into three. Medieval-style crenallations adorn its roofline. To the right is a Renaissance palace, with round arches and – across the roofline – a row of Roman emperor busts. The third palace, to the left, is Mannerist. Built after the Renaissance, it has a mix of elements. The palaces were once home to powerful families. The palace on teh right was built by a Piccolomini descendant, who served as Pope Pius II’s treasurer. The Gothic palazzo in the center was of the Salimbeni family, who were some of Siena’s first bankers.
This square is all about banking. In 1419, the Salimbeni established a bank here at their palace on this hill – the Banca Monte. Notice the Fort Knox-style base of the building. In 1472, the Sienese Republic chartered it, making it a kind of community bank for common people. It made sense that banking was largely invented here in Siena. The Sienese merchants sold products to foreigners, which required moneychangers, which led to banks. As Siena was a secular town, they were willing to loan money and charge interest, something prohibited in the Bible.
In 1674, this bank was made still richer by the powerful Duke of Tuscany. After Italy united in 1870, the bank expanded still more. It acquired the name we know it as today – the Banca Monte dei Paschi di Siena. You can see the name written over the door.
Today, this palazzo is still the world headquarters of a bank that’s been in continuous operation for over 500 years – it’s the oldest bank in the world. The officers now include all three palaces, which are joined by interior passages The Banca Monte dei Paschi is one of Italy’s top handful of banks.
The statue in the middle of the piazza – that completes the banking theme. It honors Archdeacon Bandini, a well-known Sienese economist who invented the concept of collateral.
Siena is certainly one of Jackie and my favorite spots in Italy. We will certainly be returning here during future visits. We’d love for you to join us and come along! 🙂