56 Best Sights in Tuscany, Italy

The famous Piero della Francesca frescoes depicting The Legend of the True Cross (1452–66) were executed on the three walls of the Capella Bacci, the apse of this 14th-century church. What Sir Kenneth Clark called "the most perfect morning light in all Renaissance painting" may be seen in the lowest section of the right wall, where the troops of Emperor Maxentius flee before the sign of the cross. Reservations are required and can be made online.

The town's main church is not officially a duomo (cathedral), because San Gimignano has no bishop. But behind the simple facade of the Romanesque Collegiata lies a treasure trove of fine frescoes, covering nearly every wall. Bartolo di Fredi's 14th-century fresco cycle of Old Testament scenes extends along one wall. Their distinctly medieval feel, with misshapen bodies, buckets of spurting blood, and lack of perspective, contrasts with the much more reserved scenes from the Life of Christ (attributed to 14th-century artist Lippo Memmi) painted on the opposite wall just 14 years later.

Siena's cathedral is one of the finest Gothic churches in Italy. The multicolored marble and painted decoration are typical of the Italian approach to Gothic architecture—lighter and much less austere than the French. The amazingly detailed facade has few rivals. It was completed in two brief phases at the end of the 13th and 14th centuries. The statues and decorative work were designed by Nicola Pisano and his son Giovanni, although much of what's seen today are copies, the originals having been removed to the adjacent Museo dell'Opera Metropolitana. The gold mosaics are 18th-century restorations. The campanile (no entry) is among central Italy's finest, the number of windows increasing with each level, a beautiful and ingenious way of reducing the weight of the structure as it climbs to the heavens.

With its dark-green-and-white striping throughout and its illusionistic coffered and gilded dome, the Duomo's interior is simply striking. Look up at copies of Duccio's (circa 1255–1319) stained-glass panels; the originals, finished in 1288, are in the Museo dell'Opera and are among the oldest examples of stained glass in Italy. The Duomo is most famous, though, for its inlaid-marble floors, which took almost 200 years to complete. More than 40 artists contributed to the magnificent work of 56 compositions depicting biblical scenes, allegories, religious symbols, and civic emblems. Although conserving the floors requires keeping them covered for much of the year, they are unveiled from the end of June until the end of July and from mid-August until mid-October.

Also noteworthy is the Duomo's carousel pulpit, carved by Nicola Pisano around 1265; the Life of Christ is depicted on the rostrum frieze. In striking contrast to the nave's Gothic decoration are the well-preserved Renaissance frescoes in the Biblioteca Piccolomini, off the left aisle. Painted by Pinturicchio (circa 1454–1513) and completed in 1509, they depict events from the life of Aeneas Sylvius Piccolomini (1405–64), who became Pope Pius II in 1458.

The Duomo is grand, but the medieval Sienese people had even grander plans, namely, to use the existing church as a transept and build a new nave running toward the southeast, creating what would have been the world's largest church. Alas, only the side wall and part of the new facade were completed when the Black Death struck in 1348. The city subsequently fell into decline, funds dried up, and the plans were never carried out.

Indeed, the grand church project was actually doomed from the start—subsequent attempts to get it going revealed that the foundation was insufficient to bear the weight of the proposed structure. In any event, the unfinished new nave extending from the right side of the Duomo was ultimately enclosed to house the Museo dell'Opera. The Cripta was discovered during routine preservation work on the church.

Designed by Antonio da Sangallo il Vecchio, and considered his masterpiece, this church sits on the hillside below the town walls and is a model of High Renaissance architectural perfection. Inside is a painting of the Madonna that, according to legend, was the only thing remaining in an abandoned church that two young girls entered on April 23, 1518. The girls saw the eyes of the Madonna moving, and that same afternoon so did a farmer and a cow, who knelt down in front of the painting. In 1963, the image was proclaimed the Madonna del Buon Viaggio (Madonna of the Good Journey), the protector of tourists in Italy.

The church was built in the 13th century by Cistercian monks, who designed it after churches built by their order in France. But, starting in the 15th century, it fell into ruin, declining gradually over centuries. Grass has grown through the floor, and the roof and windows are gone. What's left of its facade and walls makes a grandiose and desolate picture. In July and August the scene is enlivened by evening concerts arranged by the Accademia Musicale Chigiana in Siena. Contact the tourist information office at the abbey for details.

Pontormo's Visitation is in this small village a short drive from Poggio a Caiano. The Franciscan church of San Michele, dedicated in 1211, houses the work. The painting dates 1527–30, and it may well be Pontormo's masterpiece. The luminous colors, flowing drapery, and steady gaze shared between the Virgin and St. Elizabeth are breathtaking. The church's small cloister, shaded by olive trees, is always open, and offers a quiet place to sit.

This beautiful cathedral, which practically abuts the Museo Nazionale Etrusco, is thought by many to be the among the oldest churches in Tuscany; parts of it date from the mid-6th century. It houses the remains of Santa Mustiola, the patron saint of the city. It has very little artificial light inside, so you can get a pretty good idea of how people experienced this space over the centuries.

Visit this 15th-century church to view the excellent stained-glass window in the apse, executed by Sebastiano Mainardi (circa 1460–1513), as well as a haunting Pietà created by local artist Zacchia Zacchi (1473–1544).

The 13th-century Collegiata church has three majestic portals, one possibly the work of Giovanni Pisano (circa 1245/48–1318). Behind the high altar are some fine examples of inlaid woodwork by Antonio Barilli (1482–1502). In the floor of the left aisle, look for the tomb slab of Henry of Nassau, a pilgrim knight who died here in 1451.

In 1211 St. Francis founded the Convento di San Francesco, which contains two cloisters and an ornate wooden choir. For a dose of monastic living, you can stay overnight.

The Convento e Chiesa di Santi Jacopo e Lucia is also oddly known as the church of San Domenico, which refers to the fact that the Dominicans took over the church in the 14th century. Most of the interior suffers from too much baroque, but there is a lovely sculpted tomb by Bernardo Rossellino for Giovanni Chellini, a doctor who died in 1461. You'll find it on the right-hand nave close to the high altar.

Work began on the Duomo in the 11th century and continued into the 14th. The cathedral, dedicated to St. Andrew, is the first church of the Middle Ages constructed entirely of marble. Most of it comes from the area (the white, light blue-gray, black, and red). The tremendous facade is a fascinating blend of Pisan Romanesque and Gothic influences. Note the human figures and animals on Corinthian capitals.

Several reconstructions have left little to admire of the once-Romanesque Duomo. Inside is the Cappella del Santo Chiodo (Chapel of the Holy Nail), built in the 15th century to hold a nail allegedly from the cross upon which Christ was crucified. (Perhaps it inspired the locals to go into the nail-making business, which became another of the town's flourishing industries.)

Behind the textbook 13th-century Pisan–Romanesque facade is proof that Volterra counted for something during the Renaissance, when many important Tuscan artists came to decorate the church. Three-dimensional stucco portraits of local saints are on the gold, red, and blue ceiling (1580) designed by Francesco Capriani, including St. Linus, the successor to St. Peter as pope and claimed by the Volterrans to have been born here.

The highlight of the Duomo is the brightly painted, 13th-century, wooden, life-size Deposition in the chapel of the same name. The unusual Cappella dell'Addolorata (Chapel of the Grieved) has two terra-cotta Nativity scenes; the depiction of the arrival of the Magi has a background fresco by Benozzo Gozzoli.

Arezzo's medieval cathedral at the top of the hill contains a fresco of a tender Maria Maddalena by Piero della Francesca (1420–92); look for it in the north aisle next to the large marble tomb near the organ. Construction of the Duomo began in 1278 but twice came to a halt, and the church wasn't completed until 1510. The ceiling decorations and the stained-glass windows date from the 16th century. The facade, designed by Arezzo's Dante Viviani, was added later (1901–14).

Cortona's cathedral stands on an edge of the city, next to what's left of the Etruscan and medieval walls. Built on the site of a Romanesque church, the present Renaissance church was begun in 1480 and finished in 1507. An arcade along the outside wall was erected in the 16th century. The interior, a mixture of Renaissance and baroque styles, features an exquisite 1664 baroque tabernacle on the high altar by Francesco Mazzuoli.

The unfinished facade of Montepulciano's cathedral doesn't measure up to the beauty of its neighboring palaces. On the inside, however, its Renaissance roots shine through. The high altar has a splendid triptych painted in 1401 by Taddeo di Bartolo (circa 1362–1422), and you can see fragments of the tomb of Bartolomeo Aragazzi, secretary to Pope Martin V, that was sculpted by Michelozzo between 1427 and 1436.

This 15th-century cathedral was built by the architect Bernardo Rossellino (1409–64) under the influence of Leon Battista Alberti. The travertine facade is divided into three parts, with Renaissance arches under the pope's coat of arms encircled by a wreath of fruit. Inside, the cathedral is simple but richly decorated with Sienese paintings. The building's perfection didn't last long—the first cracks appeared immediately after it was completed, and its foundations have shifted slightly ever since as rain erodes the hillside behind. You can see this effect if you look closely at the base of the first pier as you enter the church and compare it with the last.

This 18th-century Baroque cathedral has a single nave with chapels and paintings on the sides. There are two altarpieces by local artist Francesco Zuccarelli (1702–88), a Rococo landscape artist, a favorite of George III and one of the founders of the British Royal Academy.

Sovana extends from the Rocca Aldobrandesca at the eastern end of town west to this imposing cathedral, built between the 10th and 14th century. The church, dedicated to Saints Peter and Paul, is Romanesque in style but, atypically, the main entrance is on the left-hand side of the building.

The central Piazza Garibaldi, dating from the 13th to the early 14th century, contains this Romanesque cathedral, with sculptures of the life of patron saint Cerbone above the door.

Dedicated to St. Peter, the Duomo was begun in the 11th century and was reconstructed in the early 1500s. Inside is a crucifix dating from the 14th to 15th century. There's also an early-16th-century terra-cotta attributed to the school of the della Robbia.

San Miniato's Duomo, set in a lovely piazza, has a simple yet pretty 13th-century facade, which has been restored. It also has a lovely pulpit designed by Giovanni Duprè, which was executed by his daughter Amalia (1845–1928). The interior is largely uninteresting, though there's a poignant plaque commemorating the 55 citizens who were killed in this church in July 1944 by German occupying forces.

Dedicated to St. Christopher, the Romanesque cathedral is made from elegant limestone (quarried from nearby caves) and saw four separate periods of construction. The first began in the 9th century; the last was finished in the 15th. Inside, the intricately carved pulpit, one of the finest examples of mid-12th-century Tuscan sculpture, commands center stage. The view from the littte piazza outside the Duomo is incredible: Tuscan mountains have never looked so good.

Pisa's cathedral brilliantly utilizes the horizontal marble-stripe motif (borrowed from Moorish architecture) that became common on Tuscan cathedrals. It is famous for the Romanesque panels on the transept door facing the tower that depict scenes from the life of Christ. The beautifully carved 14th-century pulpit is by Giovanni Pisano.

Prato's Romanesque Duomo, reconstructed from 1211, is famous for its Pergamo del Sacro Cingolo (Chapel of the Holy Girdle), which is to the left of its entrance and which enshrines the sash of the Virgin Mary. It is said that the girdle was given to the apostle Thomas by the Virgin Mary when she miraculously appeared after her Assumption into heaven. The Duomo also contains 15th-century frescoes by Prato's most famous son, Fra Filippo Lippi. His scenes from the life of St. Stephen are on the left wall of the Cappella Maggiore (Main Chapel); those from the life of John the Baptist are on the right.

The Romanesque Duomo, the Cattedrale di San Zeno, dates from as early as the 5th century. It houses a magnificent silver altar dedicated to St. James. The two half-figures on the left are by Filippo Brunelleschi (1377–1446), the first Renaissance architect and the designer of Florence's magnificent Duomo cupola.

The blind arches on the cathedral's facade are a fine example of the rigorously ordered Pisan Romanesque style, in this case happily enlivened by an extremely varied collection of small, carved columns. Take a closer look at the decoration of the facade and that of the portico below; they make this one of the most entertaining church exteriors in Tuscany.

The Gothic interior contains a moving Byzantine crucifix—called the Volto Santo, or Holy Face—brought here, according to legend, in the 8th century (though it probably dates from between the 11th and early 13th century). The masterpiece of the Sienese sculptor Jacopo della Quercia (circa 1371–1438) is the marble Tomb of Ilaria del Carretto (1407–08).

Behind the church of San Galgano, a short climb brings you to this charming little chapel with frescoes, by painter Ambrogio Lorenzetti (documented 1319–48), and a sword in a stone. Legend has it that Galgano, a medieval warrior and bon vivant, was struck by a revelation on this spot in which an angel told him to give up his fighting and frivolous ways forever. As a token of his conversion, he plunged his sword into the rock, where it remains today.