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Un punto di partenza assoluto: da qui, nei decenni successivi, sarebbe nata la \u003Cstrong>Scuola Senese\u003C\u002Fstrong>, quella straordinaria stagione pittorica che avrebbe dato al mondo \u003Cstrong>Duccio di Buoninsegna\u003C\u002Fstrong>, \u003Cstrong>Simone Martini\u003C\u002Fstrong> e i \u003Cstrong>fratelli Lorenzetti\u003C\u002Fstrong>.\u003C\u002Fp>\r\n\r\n\u003Ch2>Il nome, lo stile, il significato\u003C\u002Fh2>\r\n\r\n\u003Cp>Il nome deriva da un tratto preciso e inconfondibile: gli \u003Cstrong>occhi grandi\u003C\u002Fstrong> della Vergine, frontali e intensi, tipici delle \u003Cstrong>icone orientali\u003C\u002Fstrong>. Non è solo una caratteristica stilistica: quegli occhi hanno una \u003Cstrong>funzione spirituale\u003C\u002Fstrong>. Creano un \u003Cstrong>contatto diretto\u003C\u002Fstrong> con il fedele, un ponte invisibile tra il sacro e l'umano, tra l'immagine dipinta e chi la guarda in preghiera.\u003C\u002Fp>\r\n\r\n\u003Cp>La tavola raffigura la \u003Cstrong>Vergine in trono con il Bambino\u003C\u002Fstrong> secondo i canoni bizantini: postura solenne, gesti misurati, \u003Cstrong>colori intensi\u003C\u002Fstrong> e oro come sfondo sacro. Eppure, dentro quella struttura arcaica, si intuisce già qualcosa di nuovo: la \u003Cstrong>dolcezza dei volti\u003C\u002Fstrong>, una maggiore attenzione alle proporzioni, i primi segni della futura \u003Cstrong>sensibilità gotica senese\u003C\u002Fstrong>.\u003C\u002Fp>\r\n\r\n\u003Ch2>La battaglia di Montaperti e il voto della città\u003C\u002Fh2>\r\n\r\n\u003Ch3>Una notte di preghiera\u003C\u002Fh3>\r\n\r\n\u003Cp>Il momento più straordinario nella storia di questa tavola è legato a una delle date più importanti della storia senese: la \u003Cstrong>Battaglia di Montaperti del 1260\u003C\u002Fstrong>. Alla vigilia dello scontro contro \u003Cstrong>Firenze\u003C\u002Fstrong>, i senesi si radunarono davanti a questa immagine. Il \u003Cstrong>podestà \u003C\u002Fstrong>\u003Cstrong>Buonaguida\u003C\u002Fstrong>\u003Cstrong> \u003C\u002Fstrong>\u003Cstrong>Lucari\u003C\u002Fstrong>, a capo di tutta la cittadinanza, pronunciò un \u003Cstrong>voto collettivo\u003C\u002Fstrong>: Siena veniva affidata alla \u003Cstrong>protezione della Vergine\u003C\u002Fstrong>.\u003C\u002Fp>\r\n\r\n\u003Cp>L'indomani, contro ogni aspettativa, Siena vinse. Quell'episodio segnò per sempre il legame tra la città e la sua \u003Cstrong>protettrice celeste\u003C\u002Fstrong>, e consolidò il ruolo di questa icona come \u003Cstrong>simbolo identitario\u003C\u002Fstrong> di Siena.\u003C\u002Fp>\r\n\r\n\u003Ch2>Dove trovarla oggi\u003C\u002Fh2>\r\n\r\n\u003Cp>Originariamente collocata sull'\u003Cstrong>altare maggiore del Duomo\u003C\u002Fstrong>, la Madonna dagli Occhi Grossi è oggi conservata nel \u003Cstrong>Museo dell'Opera del Duomo\u003C\u002Fstrong>, dove rappresenta una tappa imprescindibile per chiunque voglia comprendere le \u003Cstrong>radici artistiche e spirituali\u003C\u002Fstrong> della città.\u003C\u002Fp>\r\n\r\n\u003Ch2>Vieni a incontrarla\u003C\u002Fh2>\r\n\r\n\u003Cp>Guardare questa tavola dal vivo significa capire da dove viene tutto: l'arte senese, la devozione mariana, l'identità di una città che ancora oggi si sente \u003Cstrong>custodita da uno sguardo antico\u003C\u002Fstrong>.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>Visita il Museo dell'Opera del Duomo\u003C\u002Fstrong> e lasciati fermare davanti a quei grandi occhi che ti parlano da otto secoli.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>Museo dell'Opera del Duomo\u003C\u002Fstrong>, Piazza del Duomo, Siena.\u003C\u002Fp>","\u003Cp>La Madonna dagli Occhi Grossi è la più antica immagine mariana dipinta di Siena, realizzata nel XIII secolo. Protettrice della città nella battaglia di Montaperti, oggi custodita nel Museo dell'Opera del Duomo: un'opera che parla ancora, dopo otto secoli.\u003C\u002Fp>","La Madonna dagli Occhi Grossi. Lo Sguardo che Custodisce Siena",{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},"la-madonna-dagli-occhi-grossi","\u002Fla-madonna-dagli-occhi-grossi",{"@type":1478,"@id":1487,"description":1488,"abstract":1489,"timetable":15,"title":1490,"subtitle":15,"ctaText":15,"extraInformations":15,"language":1491,"slug":1484,"slugFormatted":1492},"\u002Fapi\u002F.well-known\u002Fgenid\u002F2c9f96073cd55f71bf13","\u003Ch2>A gaze that spans the centuries\u003C\u002Fh2>\r\n\r\n\u003Cp>There are works of art that you look at. And then there are some that \u003Cstrong>look back at you\u003C\u002Fstrong>. The \u003Cstrong>Madonna with Big Eyes\u003C\u002Fstrong> belongs to this second category. Those large, intense, frontal eyes, still in the gold of the sacred background, do not let you go easily. They seek you out, find you, hold you.\u003C\u002Fp>\r\n\r\n\u003Cp>Created in the \u003Cstrong>first half of the 13th century\u003C\u002Fstrong> by an anonymous master deeply rooted in the \u003Cstrong>Byzantine\u003C\u002Fstrong> tradition, this panel is considered the \u003Cstrong>oldest painted Marian image of Siena\u003C\u002Fstrong>. An absolute starting point: from here, in the following decades, the \u003Cstrong>Sienese School\u003C\u002Fstrong> would be born, that extraordinary painting season that would give the world \u003Cstrong>Duccio di Buoninsegna\u003C\u002Fstrong>, \u003Cstrong>Simone Martini\u003C\u002Fstrong>, and the \u003Cstrong>Lorenzetti brothers\u003C\u002Fstrong>.\u003C\u002Fp>\r\n\r\n\u003Ch2>The name, the style, the meaning\u003C\u002Fh2>\r\n\r\n\u003Cp>The name derives from a precise and unmistakable feature: the \u003Cstrong>big eyes\u003C\u002Fstrong> of the Virgin, frontal and intense, typical of \u003Cstrong>Eastern icons\u003C\u002Fstrong>. It is not just a stylistic characteristic: those eyes have a \u003Cstrong>spiritual function\u003C\u002Fstrong>. They create a \u003Cstrong>direct contact\u003C\u002Fstrong> with the faithful, an invisible bridge between the sacred and the human, between the painted image and the one who gazes at it in prayer.\u003C\u002Fp>\r\n\r\n\u003Cp>The panel depicts the \u003Cstrong>Virgin on the throne with the Child\u003C\u002Fstrong> according to Byzantine canons: solemn posture, measured gestures, \u003Cstrong>intense colors\u003C\u002Fstrong>, and gold as a sacred background. Yet, within that archaic structure, something new is already sensed: the \u003Cstrong>sweetness of the faces\u003C\u002Fstrong>, a greater attention to proportions, the first signs of the future \u003Cstrong>Sienese Gothic sensitivity\u003C\u002Fstrong>.\u003C\u002Fp>\r\n\r\n\u003Ch2>The Battle of Montaperti and the city's vow\u003C\u002Fh2>\r\n\r\n\u003Ch3>A night of prayer\u003C\u002Fh3>\r\n\r\n\u003Cp>The most extraordinary moment in the history of this panel is linked to one of the most important dates in Sienese history: the \u003Cstrong>Battle of Montaperti in 1260\u003C\u002Fstrong>. On the eve of the clash against \u003Cstrong>Florence\u003C\u002Fstrong>, the Sienese gathered before this image. The \u003Cstrong>podestà Buonaguida Lucari\u003C\u002Fstrong>, at the head of the entire citizenry, pronounced a \u003Cstrong>collective vow\u003C\u002Fstrong>: Siena was entrusted to the \u003Cstrong>protection of the Virgin\u003C\u002Fstrong>.\u003C\u002Fp>\r\n\r\n\u003Cp>The next day, against all expectations, Siena won. That episode forever marked the bond between the city and its \u003Cstrong>heavenly protector\u003C\u002Fstrong>, and solidified the role of this icon as a \u003Cstrong>symbol of identity\u003C\u002Fstrong> for Siena.\u003C\u002Fp>\r\n\r\n\u003Ch2>Where to find it today\u003C\u002Fh2>\r\n\r\n\u003Cp>Originally placed on the \u003Cstrong>main altar of the Cathedral\u003C\u002Fstrong>, the Madonna with Big Eyes is now preserved in the \u003Cstrong>Museum of the Opera del Duomo\u003C\u002Fstrong>, where it represents an essential stop for anyone wishing to understand the \u003Cstrong>artistic and spiritual roots\u003C\u002Fstrong> of the city.\u003C\u002Fp>\r\n\r\n\u003Ch2>Come meet her\u003C\u002Fh2>\r\n\r\n\u003Cp>To see this panel in person means to understand where everything comes from: Sienese art, Marian devotion, the identity of a city that still feels \u003Cstrong>guarded by an ancient gaze\u003C\u002Fstrong>.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>Visit the Museum of the Opera del Duomo\u003C\u002Fstrong> and let yourself be stopped in front of those big eyes that have been speaking to you for eight centuries.\u003C\u002Fp>\r\n\r\n\u003Cp>\u003Cstrong>Museum of the Opera del Duomo\u003C\u002Fstrong>, Piazza del Duomo, Siena.\u003C\u002Fp>","\u003Cp>The Madonna with the Big Eyes is Siena's oldest painted Marian image, created in the 13th century. Protectress of the city in the Battle of Montaperti, it is now housed in the Museo dell'Opera del Duomo: a work that still speaks, after eight centuries.\u003C\u002Fp>","The Madonna with Big Eyes — The Gaze that Guards 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non perdere",{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},"da-non-perdere",{"@type":1627,"@id":1652,"name":1653,"language":1654,"slug":1655,"slugFormatted":15},"\u002Fapi\u002F.well-known\u002Fgenid\u002F2cf4d1bb41cf6c564d3c","Must-see",{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},"must-see",[1657,1666],{"@type":1478,"@id":1658,"description":1659,"abstract":1660,"timetable":15,"title":1661,"subtitle":15,"ctaText":1662,"extraInformations":15,"language":1663,"slug":1664,"slugFormatted":1665},"\u002Fapi\u002F.well-known\u002Fgenid\u002F00102780f70379d7ff58","\u003Ch2>Una parete che cambia tutto\u003C\u002Fh2>\r\n\r\n\u003Cp>Entri nella \u003Cstrong>Sala del Mappamondo\u003C\u002Fstrong> del \u003Cstrong>Palazzo Pubblico\u003C\u002Fstrong> e ti fermi. Non per scelta: perché la parete di fronte a te non ti lascia andare avanti. Occupa tutto lo spazio visivo, tutta l'attenzione, tutto l'ossigeno della stanza. È la \u003Cstrong>Maestà di Simone Martini\u003C\u002Fstrong>, e dopo quasi settecento anni fa ancora esattamente questo: \u003Cstrong>ferma chi la guarda\u003C\u002Fstrong>.\u003C\u002Fp>\r\n\r\n\u003Cp>Dipinta nel 1315 per commissione del \u003Cstrong>Governo dei Nove\u003C\u002Fstrong>, gli stessi che governavano Siena in uno dei suoi momenti più luminosi, e restaurata dallo stesso Martini nel \u003Cstrong>1321\u003C\u002Fstrong>, questa è la sala dove si riuniva il \u003Cstrong>Consiglio Generale della città\u003C\u002Fstrong>. Non è un caso che la Madonna stia proprio lì, su quella parete: era lì per\u003Cstrong> guardare chi decideva\u003C\u002Fstrong>, per ricordare ogni giorno ai governanti che il potere aveva un prezzo e si chiamava \u003Cstrong>giustizia\u003C\u002Fstrong>.\u003C\u002Fp>\r\n\r\n\u003Ch2>Una Madonna che fa politica\u003C\u002Fh2>\r\n\r\n\u003Cp>Al centro di tutto c'è lei: la\u003Cstrong> Madonna in trono\u003C\u002Fstrong>, circondata da una corte celeste di angeli e santi sotto un \u003Cstrong>grande baldacchino\u003C\u002Fstrong> dorato. I santi \u003Cstrong>Ansano\u003C\u002Fstrong>, \u003Cstrong>Savino\u003C\u002Fstrong>, \u003Cstrong>Crescenzio \u003C\u002Fstrong>e \u003Cstrong>Vittore\u003C\u002Fstrong>, i patroni della città, le fanno da intermediari, come ambasciatori tra il cielo e Siena. È un'immagine di potenza e dolcezza insieme, di sacro e civile che non si distinguono.\u003C\u002Fp>\r\n\r\n\u003Cp>Ma è il \u003Cstrong>Bambino Gesù\u003C\u002Fstrong> a dire la cosa più importante. Tiene in mano un cartiglio con una frase che nessun governante poteva ignorare: "\u003Cem>\u003Cstrong>Diligite Iustitiam qui iudicatis terram\u003C\u002Fstrong>\u003C\u002Fem>" — Amate la giustizia, voi che governate. Non un'esortazione generica: un \u003Cstrong>messaggio diretto\u003C\u002Fstrong>, quasi una minaccia gentile, rivolta a chi sedeva in quella sala ogni giorno a prendere decisioni che riguardavano migliaia di persone.\u003C\u002Fp>\r\n\r\n\u003Cp>La Madonna di Simone Martini non è solo una figura religiosa. È\u003Cstrong> simbolo di buon governo\u003C\u002Fstrong>, consigliera dei potenti, voce di chi non ha voce. Una presenza politica travestita da devozione, o forse una devozione così profonda da diventare politica.\u003C\u002Fp>\r\n\r\n\u003Ch2>La materia, il colore, lo stupore\u003C\u002Fh2>\r\n\r\n\u003Ch3>Un'opera che mescola tutto\u003C\u002Fh3>\r\n\r\n\u003Cp>Guardarla da vicino è scoprire quanto sia \u003Cstrong>straordinariamente materica\u003C\u002Fstrong>. Simone Martini non si accontentò dei colori sull'intonaco: usò \u003Cstrong>cristalli di rocca\u003C\u002Fstrong> per il manto della Vergine, \u003Cstrong>inserti di vetro \u003C\u002Fstrong>nel trono, \u003Cstrong>pergamena \u003C\u002Fstrong>e \u003Cstrong>lamine metalliche\u003C\u002Fstrong> per dare profondità e sfarzo a ogni dettaglio. L'\u003Cstrong>azzurro\u003C\u002Fstrong> e l'\u003Cstrong>oro\u003C\u002Fstrong> dominano, conferendo all'opera una raffinatezza che sembra quasi impossibile per un affresco.\u003C\u002Fp>\r\n\r\n\u003Cp>Nella cornice esterna, oculi con \u003Cstrong>evangelisti \u003C\u002Fstrong>e \u003Cstrong>profeti\u003C\u002Fstrong>, e i simboli della città: la \u003Cstrong>balzana\u003C\u002Fstrong> bianca e nera, il \u003Cstrong>leone rampante\u003C\u002Fstrong>. Siena intera, racchiusa intorno alla sua Madonna.\u003C\u002Fp>\r\n\r\n\u003Ch3>Simone Martini e Duccio, un dialogo tra maestri\u003C\u002Fh3>\r\n\r\n\u003Cp>Simone Martini aveva davanti a sé un modello impossibile da ignorare: la \u003Cstrong>Maestà di Duccio di Buoninsegna\u003C\u002Fstrong>, realizzata \u003Cstrong>tra il 1308 e il 1311\u003C\u002Fstrong> e oggi custodita nel \u003Cstrong>Museo dell'Opera del Duomo\u003C\u002Fstrong>. Ne riprese la disposizione dei santi, alcune caratteristiche dei volti, la struttura del trono. Ma poi fece qualcosa di diverso: rese le figure più \u003Cstrong>eleganti\u003C\u002Fstrong>, la Madonna più \u003Cstrong>dolce \u003C\u002Fstrong>e \u003Cstrong>umana\u003C\u002Fstrong>, le decorazioni più \u003Cstrong>ricche \u003C\u002Fstrong>e \u003Cstrong>sofisticate\u003C\u002Fstrong>. E soprattutto aggiunse quella \u003Cstrong>dimensione politica e civile\u003C\u002Fstrong> che nell'opera di Duccio non c'era: trasformò un'icona sacra in un manifesto di governo.\u003C\u002Fp>\r\n\r\n\u003Ch2>Vieni a stare di fronte a lei\u003C\u002Fh2>\r\n\r\n\u003Cp>La \u003Cstrong>Maestà di Simone Martini \u003C\u002Fstrong>si trova nella\u003Cstrong> Sala del Mappamondo \u003C\u002Fstrong>del \u003Cstrong>Museo Civico\u003C\u002Fstrong>, al Palazzo Pubblico. Non è in un museo qualsiasi: è nella stessa stanza dove i governanti di Siena si sedevano a decidere, con quella Madonna che li guardava dall'alto. Entra, alzа gli occhi, lasciati guardare. Perché certi dipinti non li guardi tu: sono loro a guardare te.\u003C\u002Fp>","\u003Cp>La Maestà di Simone Martini è uno dei capolavori assoluti della pittura gotica europea: dipinta nel 1315 nella Sala del Mappamondo del Palazzo Pubblico, racconta una Madonna che non è solo protettrice celeste, ma consigliera dei governanti e simbolo di giustizia. Un'opera che ancora oggi toglie il fiato.\u003C\u002Fp>","La Maestà di Simone Martini. Quando la Madonna governava Siena","\u003Cdiv>Acquista un biglietto sul sito ufficiale del Museo Civico e ammira questo meraviglioso affresco.\u003C\u002Fdiv>",{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},"la-maesta-di-simone-martini","\u002Fla-maesta-di-simone-martini",{"@type":1478,"@id":1667,"description":1668,"abstract":1669,"timetable":15,"title":1670,"subtitle":15,"ctaText":15,"extraInformations":15,"language":1671,"slug":1672,"slugFormatted":1673},"\u002Fapi\u002F.well-known\u002Fgenid\u002F6745778eba167081ab0e","\u003Ch2>A wall that changes everything\u003C\u002Fh2>\r\n\r\n\u003Cp>You enter the \u003Cem>Sala del Mappamondo\u003C\u002Fem> of the Palazzo Pubblico and you stop. Not by choice, but because the wall in front of you simply won't let you pass. It occupies the entire visual space, all the attention, all the oxygen in the room. It is Simone Martini's \u003Cem>Maestà\u003C\u002Fem>, and after nearly seven hundred years it still does precisely that: it stops anyone who gazes upon it.\u003C\u002Fp>\r\n\r\n\u003Cp>Painted in 1315 on commission by the Government of the Nine—the very rulers of Siena during one of its most brilliant eras—and restored by Martini himself in 1321, this is the hall where the city’s General Council assembled. It is no coincidence that the Virgin Mary sits right there, on that wall: she was there to watch over those making the decisions, reminding the rulers every day that power came with a price, and its name was justice.\u003C\u002Fp>\r\n\r\n\u003Ch2>A Virgin Mary engaged in politics\u003C\u002Fh2>\r\n\r\n\u003Cp>At the center of it all is her: the Virgin Mary enthroned, surrounded by a celestial court of angels and saints beneath a magnificent golden canopy. Saints Ansanus, Sabinus, Crescentius, and Victor, the city's patron saints, act as her intermediaries—like ambassadors between heaven and Siena. It is an image combining power and gentleness, blending the sacred and the civic until they become indistinguishable.\u003C\u002Fp>\r\n\r\n\u003Cp>Yet it is the Infant Jesus who delivers the most important message. He holds a scroll with a line no ruler could afford to ignore: \u003Cem>"Diligite Iustitiam qui iudicatis terram"\u003C\u002Fem> — "Love justice, you who judge the earth." This was no vague exhortation; it was a direct message, almost a gentle threat aimed at those who sat in that room every day making decisions affecting thousands of lives.\u003C\u002Fp>\r\n\r\n\u003Cp>Simone Martini's Virgin Mary is not merely a religious figure. She is a symbol of good governance, an advisor to the powerful, a voice for the voiceless. A political presence disguised as devotion—or perhaps a devotion so profound it becomes inherently political.\u003C\u002Fp>\r\n\r\n\u003Ch2>Materiality, color, and wonder\u003C\u002Fh2>\r\n\r\n\u003Ch3>An artwork that blends everything\u003C\u002Fh3>\r\n\r\n\u003Cp>Looking at it up close reveals how extraordinarily tactile and textured it is. Simone Martini was not satisfied with paints on plaster alone: he used rock crystals for the Virgin's mantle, glass inlays in the throne, parchment, and metallic foils to lend depth and splendor to every detail. Azure and gold dominate the scene, endowing the artwork with a level of refinement that feels almost impossible for a fresco.\u003C\u002Fp>\r\n\r\n\u003Cp>In the outer frame, roundels depict evangelists and prophets alongside the city’s emblems: the black-and-white \u003Cem>balzana\u003C\u002Fem> shield and the rampant lion. All of Siena, enclosed around its Virgin.\u003C\u002Fp>\r\n\r\n\u003Ch3>Simone Martini and Duccio, a dialogue between masters\u003C\u002Fh3>\r\n\r\n\u003Cp>Simone Martini had an undeniable model before him: Duccio di Buoninsegna's \u003Cem>Maestà\u003C\u002Fem>, created between 1308 and 1311 and housed today in the Museo dell'Opera del Duomo. Martini drew upon Duccio's arrangement of saints, facial features, and throne design. But then he ventured further: he rendered the figures more elegant, made the Virgin sweeter and more human, and crafted richer, more sophisticated ornamentation. Above all, he added a political and civic dimension absent from Duccio's work, turning a sacred icon into a manifesto of governance.\u003C\u002Fp>\r\n\r\n\u003Ch2>Come stand before her\u003C\u002Fh2>\r\n\r\n\u003Cp>Simone Martini's \u003Cem>Maestà\u003C\u002Fem> is located in the \u003Cem>Sala del Mappamondo\u003C\u002Fem> inside the Museo Civico at Palazzo Pubblico. It is not inside just any museum: it stands in the very room where the rulers of Siena once sat to govern, with the Virgin looking down on them from above. Step inside, look up, and let yourself be observed. Because certain paintings aren't just for you to look at: they are looking at you.\u003C\u002Fp>","\u003Cp>Simone Martini's Maestà is one of the absolute masterpieces of European Gothic painting: painted in 1315 in the Sala del Mappamondo of the Palazzo Pubblico, it depicts a Madonna who is not only a celestial protector, but also an advisor to rulers and a symbol of justice. A work that still takes your breath away today.\u003C\u002Fp>","La Maestà by Simone Martini. When the Virgin Mary Ruled Siena",{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},"la-maesta-by-simone-martini","\u002Fen\u002Fla-maesta-by-simone-martini",[],[1676,1680],{"@type":1496,"@id":1677,"translations":1678,"position":1447,"imagePath":1679},"\u002Fapi\u002F.well-known\u002Fgenid\u002F6c777ff239af23b709ee",[],"https:\u002F\u002Fd3i8lfewrnejp4.cloudfront.net\u002Fml\u002Fgallery\u002Fla-maesta-simone-martini-6ad1d6fa90e4a808442900.jpg",{"@type":1496,"@id":1681,"translations":1682,"position":1447,"imagePath":1683},"\u002Fapi\u002F.well-known\u002Fgenid\u002F8c3bcf4122321e58173e",[],"https:\u002F\u002Fd3i8lfewrnejp4.cloudfront.net\u002Fml\u002Fgallery\u002Fla-maesta-simone-martini-6ad1d6fab760a201569029.jpg",{"@type":1505,"@id":1685,"hashParam":1686},"\u002Fapi\u002F.well-known\u002Fgenid\u002Fa301544b03f0dc46485f","b730490f1856909d777e7d775153097ba526811cf71c7ab7631079f8c46b248a",95,"EMOTIONAL_2",[],[1691],{"category":1692,"tags":1698},{"@id":1613,"@type":1614,"translations":1693},[1694,1696],{"@type":1617,"@id":1618,"name":1619,"language":1695,"slug":1621,"slugFormatted":15},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1617,"@id":1623,"name":1619,"language":1697,"slug":1621,"slugFormatted":15},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},[1699,1711],{"@id":1610,"@type":1611,"tagCategory":1700,"translations":1706},{"@id":1613,"@type":1614,"translations":1701},[1702,1704],{"@type":1617,"@id":1618,"name":1619,"language":1703,"slug":1621,"slugFormatted":15},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1617,"@id":1623,"name":1619,"language":1705,"slug":1621,"slugFormatted":15},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},[1707,1709],{"@type":1627,"@id":1628,"name":1629,"language":1708,"slug":1631,"slugFormatted":15},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1627,"@id":1633,"name":1634,"language":1710,"slug":1636,"slugFormatted":15},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},{"@id":1638,"@type":1611,"tagCategory":1712,"translations":1718},{"@id":1613,"@type":1614,"translations":1713},[1714,1716],{"@type":1617,"@id":1618,"name":1619,"language":1715,"slug":1621,"slugFormatted":15},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1617,"@id":1623,"name":1619,"language":1717,"slug":1621,"slugFormatted":15},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},[1719,1721],{"@type":1627,"@id":1647,"name":1648,"language":1720,"slug":1650,"slugFormatted":15},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1627,"@id":1652,"name":1653,"language":1722,"slug":1655,"slugFormatted":15},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},{"@id":1724,"@type":1430,"name":1725,"poiType":1726,"address":1738,"latitude":1739,"longitude":1740,"phone":15,"mobile":15,"email":15,"website":15,"stars":15,"poiTag":1741,"translations":1742,"socials":1760,"gallery":1761,"city":1500,"province":1501,"postalCode":1502,"country":1503,"poiPreview":1766,"position":1687,"layout":1508,"otherPoiType":1769,"logoPath":1510,"poiTagsByCategory":1770},"\u002Fapi\u002Fpois\u002F019e7a76-4032-73e9-87fa-70e306a09ff1","Libreria Piccolomini",{"@id":1433,"@type":1434,"id":1435,"translations":1727,"poiCategory":1732},[1728,1730],{"@type":1438,"@id":1589,"name":1440,"backUrl":1441,"language":1729,"slug":1448,"slugFormatted":1449},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1438,"@id":1592,"name":409,"backUrl":410,"language":1731,"slug":1455,"slugFormatted":1456},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},{"@id":1458,"@type":1459,"translations":1733},[1734,1736],{"@type":1462,"@id":1597,"name":1464,"language":1735,"slug":1466,"slugFormatted":15},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1462,"@id":1600,"name":1469,"language":1737,"slug":1471,"slugFormatted":15},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},"Duomo di Siena","43.3177948","11.3290896",[],[1743,1752],{"@type":1478,"@id":1744,"description":1745,"abstract":1746,"timetable":15,"title":1747,"subtitle":15,"ctaText":1748,"extraInformations":15,"language":1749,"slug":1750,"slugFormatted":1751},"\u002Fapi\u002F.well-known\u002Fgenid\u002F495591c5ba9ff6a9d077","\u003Ch2>Una storia di famiglia, potere e magnificenza\u003C\u002Fh2>\r\n\r\n\u003Ch3>Nata per celebrare, non per studiare\u003C\u002Fh3>\r\n\r\n\u003Cp>Nel 1492 il cardinale \u003Cstrong>Francesco Piccolomini Todeschini\u003C\u002Fstrong>, arcivescovo di Siena e futuro papa Pio III, fece costruire questa sala con un obiettivo preciso: custodire il ricchissimo patrimonio librario raccolto dallo zio, \u003Cstrong>papa Pio II\u003C\u002Fstrong>, e celebrarne la grandezza. La \u003Cstrong>Libreria Piccolomini\u003C\u002Fstrong> non fu mai uno spazio di studio o raccoglimento silenzioso. Era uno spazio celebrativo, pensato per esaltare il prestigio di una delle famiglie più influenti del Rinascimento italiano. Una dichiarazione di potere scritta con colori e oro.\u003C\u002Fp>\r\n\r\n\u003Ch2>Gli affreschi di Pinturicchio: il Rinascimento in tutta la sua gloria\u003C\u002Fh2>\r\n\r\n\u003Ch3>Dieci scene, una vita intera, colori che non invecchiano\u003C\u002Fh3>\r\n\r\n\u003Cp>Tra il 1502 e il 1507, \u003Cstrong>Pinturicchio\u003C\u002Fstrong> trasformò le pareti della libreria in un racconto dipinto di straordinaria vitalità. Le dieci scene narrano la vita di \u003Cstrong>Enea Silvio Piccolomini\u003C\u002Fstrong>, il futuro papa Pio II. I personaggi si muovono tra architetture immaginarie, paesaggi luminosi e abiti riccamente decorati con una freschezza cromatica che lascia senza fiato. Tra i volti raffigurati si riconoscono personaggi reali dell'epoca: nobili, cardinali, ambasciatori. E tra loro, con orgoglio appena dissimulato, \u003Cstrong>Pinturicchio stesso\u003C\u002Fstrong>, che si ritrae tra i protagonisti della storia che sta raccontando. Un atto di presenza, quasi una firma d'autore nascosta nel colore.\u003C\u002Fp>\r\n\r\n\u003Ch3>La volta: un cielo dorato che trasforma la sala\u003C\u002Fh3>\r\n\r\n\u003Cp>Alzare gli occhi verso la volta della \u003Cstrong>Libreria Piccolomini\u003C\u002Fstrong> è un'altra esperienza ancora. Motivi dorati e azzurri si intrecciano in un cielo simbolico che illumina l'intera stanza dall'alto, creando un'atmosfera sospesa tra il sacro e il fiabesco. La luce naturale che filtra dalle finestre cambia durante il giorno, modificando i toni degli affreschi in modo quasi impercettibile: ogni visita, a seconda dell'ora, regala un'emozione diversa. In certi momenti della mattina i colori sembrano letteralmente brillare.\u003C\u002Fp>\r\n\r\n\u003Ch2>I tesori al centro della sala\u003C\u002Fh2>\r\n\r\n\u003Ch3>Il coro miniato: ogni pagina un capolavoro\u003C\u002Fh3>\r\n\r\n\u003Cp>Al centro della sala si trova un tesoro prezioso: il \u003Cstrong>coro miniato della famiglia Piccolomini\u003C\u002Fstrong>, una raccolta di antichi codici musicali splendidamente decorati. Ogni pagina è un piccolo capolavoro. Un'opera nell'opera, per chi ha la pazienza di fermarsi a guardare.\u003C\u002Fp>\r\n\r\n\u003Ch2>Perché la Libreria Piccolomini è una tappa da non perdere a Siena\u003C\u002Fh2>\r\n\r\n\u003Ch3>Cinquecento anni di bellezza intatta\u003C\u002Fh3>\r\n\r\n\u003Cp>La \u003Cstrong>Libreria Piccolomini\u003C\u002Fstrong> è considerata uno degli ambienti rinascimentali meglio conservati d'Italia e visitarla significa rendersene conto in modo diretto, fisico, immediato. Non c'è distanza tra te e quei colori: sono lì, a portata di mano, vivi come il giorno in cui \u003Cstrong>Pinturicchio\u003C\u002Fstrong> posò il pennello. Un gioiello nel cuore di una cattedrale straordinaria.\u003C\u002Fp>","\u003Cp>Ci sono luoghi che non ti aspetti. La \u003Cstrong>Libreria Piccolomini\u003C\u002Fstrong> è uno di questi: un gioiello rinascimentale celato lungo la navata sinistra del \u003Cstrong>Duomo di Siena\u003C\u002Fstrong>, che si rivela all'improvviso come un mondo a sé, sospeso, luminoso, straordinariamente intatto. Entrare nella libreria significa uscire dal gotico della Cattedrale ed immergersi in un universo di colore, luce e narrazione pittorica che da oltre cinquecento anni sorprende tutto il mondo. È infatti uno degli \u003Cstrong>ambienti rinascimentali meglio conservati d'Italia\u003C\u002Fstrong>.\u003C\u002Fp>","Libreria Piccolomini: il Rinascimento italiano nascosto nel cuore del Duomo di Siena","\u003Cdiv>Visita la Libreria Piccolomini nel Duomo di Siena: scopri orari, biglietti e come accedere a uno degli spazi rinascimentali più belli e meglio conservati d'Italia. La bellezza di cinquecento anni ti aspetta a pochi passi dal Campo.\u003C\u002Fdiv>",{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},"libreria-piccolomini","\u002Flibreria-piccolomini",{"@type":1478,"@id":1753,"description":1754,"abstract":1755,"timetable":15,"title":1756,"subtitle":15,"ctaText":1757,"extraInformations":15,"language":1758,"slug":1750,"slugFormatted":1759},"\u002Fapi\u002F.well-known\u002Fgenid\u002F0c6a7514395855e102f8","\u003Ch2>A story of family, power, and magnificence\u003C\u002Fh2>\r\n\r\n\u003Ch3>Born to celebrate, not to study\u003C\u002Fh3>\r\n\r\n\u003Cp>In 1492, Cardinal \u003Cstrong>Francesco Piccolomini Todeschini\u003C\u002Fstrong>, Archbishop of Siena and future Pope Pius III, commissioned the construction of this hall with a specific goal: to safeguard the rich library heritage collected by his uncle, \u003Cstrong>Pope Pius II\u003C\u002Fstrong>, and to celebrate its greatness. The \u003Cstrong>Piccolomini Library\u003C\u002Fstrong> was never a space for study or silent contemplation. It was a celebratory space, designed to exalt the prestige of one of the most influential families of the Italian Renaissance. A declaration of power written with colors and gold.\u003C\u002Fp>\r\n\r\n\u003Ch2>The frescoes of Pinturicchio: the Renaissance in all its glory\u003C\u002Fh2>\r\n\r\n\u003Ch3>Ten scenes, a lifetime, colors that never age\u003C\u002Fh3>\r\n\r\n\u003Cp>Between 1502 and 1507, \u003Cstrong>Pinturicchio\u003C\u002Fstrong> transformed the walls of the library into a painted narrative of extraordinary vitality. The ten scenes depict the life of \u003Cstrong>Enea Silvio Piccolomini\u003C\u002Fstrong>, the future Pope Pius II. The characters move among imaginary architectures, luminous landscapes, and richly decorated garments with a chromatic freshness that takes your breath away. Among the depicted faces, real historical figures of the time can be recognized: nobles, cardinals, ambassadors. And among them, with barely concealed pride, \u003Cstrong>Pinturicchio himself\u003C\u002Fstrong>, who portrays himself among the protagonists of the story he is telling. An act of presence, almost a hidden author’s signature in the color.\u003C\u002Fp>\r\n\r\n\u003Ch3>The ceiling: a golden sky that transforms the room\u003C\u002Fh3>\r\n\r\n\u003Cp>Looking up at the ceiling of the \u003Cstrong>Piccolomini Library\u003C\u002Fstrong> is yet another experience. Golden and blue motifs intertwine in a symbolic sky that illuminates the entire room from above, creating an atmosphere suspended between the sacred and the fairy-tale. The natural light filtering through the windows changes throughout the day, altering the tones of the frescoes in an almost imperceptible way: each visit, depending on the hour, offers a different emotion. At certain moments in the morning, the colors seem to literally shine.\u003C\u002Fp>\r\n\r\n\u003Ch2>The treasures at the center of the room\u003C\u002Fh2>\r\n\r\n\u003Ch3>The illuminated choir: every page a masterpiece\u003C\u002Fh3>\r\n\r\n\u003Cp>At the center of the room lies a precious treasure: the \u003Cstrong>illuminated choir of the Piccolomini family\u003C\u002Fstrong>, a collection of ancient musical manuscripts beautifully decorated. Each page is a small masterpiece. A work within a work, for those who have the patience to stop and look.\u003C\u002Fp>\r\n\r\n\u003Ch2>Why the Piccolomini Library is a must-see in Siena\u003C\u002Fh2>\r\n\r\n\u003Ch3>Five hundred years of untouched beauty\u003C\u002Fh3>\r\n\r\n\u003Cp>The \u003Cstrong>Piccolomini Library\u003C\u002Fstrong> is considered one of the best-preserved Renaissance environments in Italy, and visiting it means experiencing this directly, physically, immediately. There is no distance between you and those colors: they are there, within reach, alive as on the day \u003Cstrong>Pinturicchio\u003C\u002Fstrong> laid down his brush. A jewel in the heart of an extraordinary cathedral.\u003C\u002Fp>","\u003Cp>There are places you don't expect. The \u003Cstrong>Piccolomini Library\u003C\u002Fstrong> is one of them: a Renaissance jewel hidden along the left aisle of the \u003Cstrong>Siena Cathedral\u003C\u002Fstrong>, which suddenly reveals itself as a world of its own, suspended, luminous, extraordinarily intact. Entering the library means stepping out of the Gothic Cathedral and immersing oneself in a universe of color, light, and pictorial narrative that has amazed the world for over five hundred years. It is indeed one of the \u003Cstrong>best-preserved Renaissance environments in Italy\u003C\u002Fstrong>.\u003C\u002Fp>","Piccolomini Library: the hidden Italian Renaissance in the heart of the Siena Cathedral","\u003Cdiv>Visit the Piccolomini Library in the Siena Cathedral: discover hours, tickets, and how to access one of the most beautiful and best-preserved Renaissance spaces in Italy. The beauty of five hundred years awaits you just a few steps from the Campo.\u003C\u002Fdiv>",{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},"\u002Fen\u002Flibreria-piccolomini",[],[1762],{"@type":1496,"@id":1763,"translations":1764,"position":1447,"imagePath":1765},"\u002Fapi\u002F.well-known\u002Fgenid\u002F77a0375881780725f29c",[],"https:\u002F\u002Fd3i8lfewrnejp4.cloudfront.net\u002Fml\u002Fgallery\u002Fveduta-libreria-piccolomini-foto-luca-betti-6a7485581aaf4033173823.jpg",{"@type":1505,"@id":1767,"hashParam":1768},"\u002Fapi\u002F.well-known\u002Fgenid\u002Ff3be6a1ad53569829ee5","635801f992752808547f49fdab3d21fb5e05f26d7af098e0539c6e44cc63ed78",[],[],{"@id":1772,"@type":1430,"name":1773,"poiType":1774,"address":1786,"latitude":1787,"longitude":1788,"phone":15,"mobile":15,"email":15,"website":15,"stars":15,"poiTag":1789,"translations":1790,"socials":1808,"gallery":1809,"city":1500,"province":1501,"postalCode":1502,"country":1503,"poiPreview":1818,"position":1687,"layout":1508,"otherPoiType":1821,"logoPath":1510,"poiTagsByCategory":1822},"\u002Fapi\u002Fpois\u002F019e917b-c94a-72ab-9a62-5b74c8a9067c","Pavimento del Duomo",{"@id":1433,"@type":1434,"id":1435,"translations":1775,"poiCategory":1780},[1776,1778],{"@type":1438,"@id":1589,"name":1440,"backUrl":1441,"language":1777,"slug":1448,"slugFormatted":1449},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1438,"@id":1592,"name":409,"backUrl":410,"language":1779,"slug":1455,"slugFormatted":1456},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},{"@id":1458,"@type":1459,"translations":1781},[1782,1784],{"@type":1462,"@id":1597,"name":1464,"language":1783,"slug":1466,"slugFormatted":15},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1462,"@id":1600,"name":1469,"language":1785,"slug":1471,"slugFormatted":15},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},"Piazza del Duomo","43.317361489810715","11.328550154258679",[],[1791,1800],{"@type":1478,"@id":1792,"description":1793,"abstract":1794,"timetable":15,"title":1795,"subtitle":15,"ctaText":1796,"extraInformations":15,"language":1797,"slug":1798,"slugFormatted":1799},"\u002Fapi\u002F.well-known\u002Fgenid\u002F4aecdaaa0109f314777b","\u003Ch2>Cinque secoli di lavoro, un'unica visione\u003C\u002Fh2>\r\n\r\n\u003Ch3>Dal Trecento al Settecento: un'opera collettiva senza precedenti\u003C\u002Fh3>\r\n\r\n\u003Cp>Le prime tarsie risalgono al \u003Cstrong>Trecento\u003C\u002Fstrong>: motivi geometrici e figure simboliche che aprono il percorso come un prologo. Poi, tra Quattrocento e Cinquecento, il progetto esplode nella sua piena grandiosità, coinvolgendo i maggiori \u003Cstrong>artisti senesi del Rinascimento\u003C\u002Fstrong> in un'impresa che non ha paragoni nella storia dell'arte. Oltre \u003Cstrong>sessanta tarsie\u003C\u002Fstrong> realizzate con tecniche di \u003Cstrong>commesso marmoreo e graffito\u003C\u002Fstrong>, capaci di ottenere effetti quasi pittorici lavorando esclusivamente con la pietra, chiaroscuri, prospettive, movimenti che sembrano impossibili per un materiale così rigido e definitivo.\u003C\u002Fp>\r\n\r\n\u003Ch2>I grandi maestri e le scene più straordinarie\u003C\u002Fh2>\r\n\r\n\u003Ch3>Beccafumi: chiaroscuro nel marmo\u003C\u002Fh3>\r\n\r\n\u003Cp>Il genio di \u003Cstrong>Domenico Beccafumi\u003C\u002Fstrong> firma alcune delle scene più spettacolari dell'intero pavimento: \u003Cstrong>la Strage degli Innocenti, Mosè sul Sinai, Elia\u003C\u002Fstrong>\u003Cstrong>,\u003C\u002Fstrong> composizioni di potenza drammatica che usano il chiaroscuro marmoreo in modo rivoluzionario, trasformando la pietra in emozione pura.\u003C\u002Fp>\r\n\r\n\u003Ch3>Pinturicchio e il Monte della Sapienza\u003C\u002Fh3>\r\n\r\n\u003Cp>\u003Cstrong>Pinturicchio\u003C\u002Fstrong>, unico artista non senese coinvolto nel progetto, firma nel \u003Cstrong>1505\u003C\u002Fstrong> il celebre Monte della Sapienza: un'allegoria del cammino umano verso la conoscenza e la virtù, una delle scene più evocative e filosoficamente dense dell'intero ciclo. Accanto a lui, maestri come \u003Cstrong>Sassetta, \u003C\u002Fstrong>\u003Cstrong>Neroccio\u003C\u002Fstrong>\u003Cstrong> di Bartolomeo de' Landi e Matteo di Giovanni\u003C\u002Fstrong> arricchiscono il percorso con scene bibliche e allegoriche di straordinaria raffinatezza.\u003C\u002Fp>\r\n\r\n\u003Ch3>La Ruota della Fortuna e le Sibille: un viaggio iniziatico\u003C\u002Fh3>\r\n\r\n\u003Cp>Il percorso iconografico accompagna il visitatore dalla navata fino all'altare in un cammino simbolico preciso: si parte da figure dell'antichità come \u003Cstrong>Ermete Trismegisto\u003C\u002Fstrong> e le \u003Cstrong>Sibille\u003C\u002Fstrong>, si attraversa l'esagono centrale sotto la cupola con la \u003Cstrong>Ruota della Fortuna\u003C\u002Fstrong> e le storie del popolo ebraico, fino agli episodi dei grandi profeti biblici. Molti studiosi interpretano l'intero ciclo come un \u003Cstrong>percorso iniziatico\u003C\u002Fstrong>: un viaggio dalla conoscenza terrena alla rivelazione spirituale, scritto in marmo per chi ha occhi abbastanza lenti da leggerlo.\u003C\u002Fp>\r\n\r\n\u003Ch2>Un privilegio raro: il pavimento scoperto\u003C\u002Fh2>\r\n\r\n\u003Ch3>Solo tra fine agosto e fine ottobre\u003C\u002Fh3>\r\n\r\n\u003Cp>Per proteggerlo, il \u003Cstrong>pavimento del Duomo\u003C\u002Fstrong> rimane coperto per gran parte dell'anno. Solo per alcune settimane, \u003Cstrong>tra fine agosto e fine ottobre\u003C\u002Fstrong>, viene scoperto e restituito allo sguardo del visitatore nella sua interezza. Un appuntamento raro, quasi un evento, che rende la visita in questo periodo qualcosa di speciale e irripetibile. La cura con cui Siena lo preserva da secoli racconta meglio di qualsiasi parola il legame profondo tra questa città e il suo Duomo.\u003C\u002Fp>","\u003Cp>Immagina un libro. Non di carta, ma di marmo. Non scritto con l'inchiostro, ma intarsiato con la pazienza di generazioni di artisti che hanno lavorato per oltre cinque secoli su un unico, straordinario progetto collettivo. Il \u003Cstrong>pavimento del Duomo di Siena\u003C\u002Fstrong> è questo: un capolavoro assoluto dell'arte medievale e rinascimentale italiana, un percorso simbolico che si distende sotto i piedi del visitatore come un tappeto di storia, fede e bellezza senza eguali al mondo. Nessun altro pavimento al mondo racconta così tanto. Nessun altro chiede così tanto attenzione a chi lo calpesta.\u003C\u002Fp>","Il pavimento del Duomo di Siena: un libro di pietra unico al mondo","\u003Cdiv>Pianifica la tua visita al Duomo di Siena tra fine agosto e fine ottobre per ammirare il pavimento scoperto nella sua interezza: un'esperienza unica, disponibile solo poche settimane l'anno. Non lasciartela sfuggire.\u003C\u002Fdiv>",{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},"pavimento-del-duomo","\u002Fpavimento-del-duomo",{"@type":1478,"@id":1801,"description":1802,"abstract":1803,"timetable":15,"title":1804,"subtitle":15,"ctaText":1805,"extraInformations":15,"language":1806,"slug":1798,"slugFormatted":1807},"\u002Fapi\u002F.well-known\u002Fgenid\u002F639b8feb5b23adef504d","\u003Ch2>Five centuries of work, a single vision\u003C\u002Fh2>\r\n\r\n\u003Ch3>From the Fourteenth to the Eighteenth Century: an unprecedented collective work\u003C\u002Fh3>\r\n\r\n\u003Cp>The first inlays date back to the \u003Cstrong>Fourteenth Century\u003C\u002Fstrong>: geometric patterns and symbolic figures that open the path like a prologue. Then, between the Fifteenth and Sixteenth Centuries, the project explodes in its full grandeur, involving the greatest \u003Cstrong>Sienese Renaissance artists\u003C\u002Fstrong> in an undertaking that has no comparison in the history of art. Over \u003Cstrong>sixty inlays\u003C\u002Fstrong> created with \u003Cstrong>marble inlay and graffiti techniques\u003C\u002Fstrong>, capable of achieving almost pictorial effects by working exclusively with stone, chiaroscuro, perspectives, movements that seem impossible for such a rigid and definitive material.\u003C\u002Fp>\r\n\r\n\u003Ch2>The great masters and the most extraordinary scenes\u003C\u002Fh2>\r\n\r\n\u003Ch3>Beccafumi: chiaroscuro in marble\u003C\u002Fh3>\r\n\r\n\u003Cp>The genius of \u003Cstrong>Domenico Beccafumi\u003C\u002Fstrong> signs some of the most spectacular scenes of the entire floor: \u003Cstrong>The Massacre of the Innocents, Moses on Sinai, Elijah\u003C\u002Fstrong>, compositions of dramatic power that use marble chiaroscuro in a revolutionary way, transforming stone into pure emotion.\u003C\u002Fp>\r\n\r\n\u003Ch3>Pinturicchio and the Mount of Wisdom\u003C\u002Fh3>\r\n\r\n\u003Cp>\u003Cstrong>Pinturicchio\u003C\u002Fstrong>, the only non-Sienese artist involved in the project, signed the famous Mount of Wisdom in \u003Cstrong>1505\u003C\u002Fstrong>: an allegory of the human journey towards knowledge and virtue, one of the most evocative and philosophically rich scenes of the entire cycle. Alongside him, masters like \u003Cstrong>Sassetta, \u003C\u002Fstrong>\u003Cstrong>Neroccio\u003C\u002Fstrong>\u003Cstrong> di Bartolomeo de' Landi and Matteo di Giovanni\u003C\u002Fstrong> enrich the path with biblical and allegorical scenes of extraordinary refinement.\u003C\u002Fp>\r\n\r\n\u003Ch3>The Wheel of Fortune and the Sibyls: an initiatory journey\u003C\u002Fh3>\r\n\r\n\u003Cp>The iconographic path accompanies the visitor from the nave to the altar in a precise symbolic journey: it starts from figures of antiquity like \u003Cstrong>Hermes Trismegistus\u003C\u002Fstrong> and the \u003Cstrong>Sibyls\u003C\u002Fstrong>, crosses the central hexagon under the dome with the \u003Cstrong>Wheel of Fortune\u003C\u002Fstrong> and the stories of the Jewish people, up to the episodes of the great biblical prophets. Many scholars interpret the entire cycle as an \u003Cstrong>initiatory path\u003C\u002Fstrong>: a journey from earthly knowledge to spiritual revelation, written in marble for those who have eyes slow enough to read it.\u003C\u002Fp>\r\n\r\n\u003Ch2>A rare privilege: the uncovered floor\u003C\u002Fh2>\r\n\r\n\u003Ch3>Only from late August to late October\u003C\u002Fh3>\r\n\r\n\u003Cp>To protect it, the \u003Cstrong>floor of the Cathedral\u003C\u002Fstrong> remains covered for most of the year. Only for a few weeks, \u003Cstrong>from late August to late October\u003C\u002Fstrong>, it is uncovered and returned to the visitor's gaze in its entirety. A rare appointment, almost an event, that makes the visit during this period something special and unrepeatable. The care with which Siena has preserved it for centuries tells better than any word the deep bond between this city and its Cathedral.\u003C\u002Fp>","\u003Cp>Imagine a book. Not made of paper, but of marble. Not written with ink, but inlaid with the patience of generations of artists who worked for over five centuries on a single, extraordinary collective project. The \u003Cstrong>floor of the Siena Cathedral\u003C\u002Fstrong> is this: an absolute masterpiece of Italian medieval and Renaissance art, a symbolic path that unfolds beneath the visitor's feet like a carpet of history, faith, and beauty unparalleled in the world. No other floor in the world tells so much. No other demands so much attention from those who tread upon it.\u003C\u002Fp>","The floor of the Siena Cathedral: a unique stone book in the world","\u003Cdiv>Plan your visit to the Siena Cathedral between late August and late October to admire the uncovered floor in its entirety: a unique experience, available only a few weeks a year. Don't miss it.\u003C\u002Fdiv>",{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},"\u002Fen\u002Fpavimento-del-duomo",[],[1810,1814],{"@type":1496,"@id":1811,"translations":1812,"position":1447,"imagePath":1813},"\u002Fapi\u002F.well-known\u002Fgenid\u002F1b89ac14b8d79e85624c",[],"https:\u002F\u002Fd3i8lfewrnejp4.cloudfront.net\u002Fml\u002Fgallery\u002Fveduta-pulpito-foto-luca-betti-6a7498059781b516489761.jpg",{"@type":1496,"@id":1815,"translations":1816,"position":1447,"imagePath":1817},"\u002Fapi\u002F.well-known\u002Fgenid\u002F101f877ef2a800c48921",[],"https:\u002F\u002Fd3i8lfewrnejp4.cloudfront.net\u002Fml\u002Fgallery\u002Fopa-luca-betti-0394-1-6a74980579903783155629.jpg",{"@type":1505,"@id":1819,"hashParam":1820},"\u002Fapi\u002F.well-known\u002Fgenid\u002F9740368bc61cd37b2392","9bcebee96730a7bc3da4585c78f85ea689970971526f56ae81428a195fbe1478",[],[],{"@id":1824,"@type":1430,"name":1825,"poiType":1826,"address":181,"latitude":1838,"longitude":1839,"phone":15,"mobile":15,"email":15,"website":15,"stars":15,"poiTag":1840,"translations":1841,"socials":1859,"gallery":1860,"city":1500,"province":1501,"postalCode":1502,"country":1503,"poiPreview":1869,"position":1872,"layout":1508,"otherPoiType":1873,"logoPath":1510,"poiTagsByCategory":1874},"\u002Fapi\u002Fpois\u002F019e91ab-84b9-7578-ac23-e8a9ddb752cc","Cappella di Piazza",{"@id":1433,"@type":1434,"id":1435,"translations":1827,"poiCategory":1832},[1828,1830],{"@type":1438,"@id":1589,"name":1440,"backUrl":1441,"language":1829,"slug":1448,"slugFormatted":1449},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1438,"@id":1592,"name":409,"backUrl":410,"language":1831,"slug":1455,"slugFormatted":1456},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},{"@id":1458,"@type":1459,"translations":1833},[1834,1836],{"@type":1462,"@id":1597,"name":1464,"language":1835,"slug":1466,"slugFormatted":15},{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},{"@type":1462,"@id":1600,"name":1469,"language":1837,"slug":1471,"slugFormatted":15},{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},"43.31858392924521","11.331664407399757",[],[1842,1851],{"@type":1478,"@id":1843,"description":1844,"abstract":1845,"timetable":15,"title":1846,"subtitle":15,"ctaText":1847,"extraInformations":15,"language":1848,"slug":1849,"slugFormatted":1850},"\u002Fapi\u002F.well-known\u002Fgenid\u002Ff840e932c562b0b48785","\u003Ch2>Cappella di Piazza, il miracolo artistico e spirituale della Siena medievale\u003C\u002Fh2>\r\n\r\n\u003Cp>Era il 1352. Siena si leccava ancora le ferite, dopo la devastante \u003Cstrong>Peste Nera\u003C\u002Fstrong> di quattro anni prima: decimata, ma pronta a risorgere come una fenice. Fu così fondata la \u003Cstrong>Cappella di Piazza\u003C\u002Fstrong>, come ringraziamento alla Vergine Maria per la fine della peste, come segno di speranza e rinascita, come simbolo della fusione tra potere civile e spiritualità senese. L’edificio racconta secoli di storia: dai primordi come portico a tre arcate, alla trasformazione in cappella sacra con volta a crociera tra XIII e XIV secolo, fino al posizionamento del coro ligneo per le reliquie di Costantinopoli nel 1359.\u003C\u002Fp>\r\n\r\n\u003Ch3>Architettura e scultura: un mosaico di maestria senese\u003C\u002Fh3>\r\n\r\n\u003Cp>Tra il 1461 e il 1468, \u003Cstrong>Antonio Federighi\u003C\u002Fstrong> rivoluzionò la struttura con una volta retta da archi a tutto sesto e raffinati dettagli “antichizzanti”. La facciata, completamente rifatta nel 1846 da \u003Cstrong>Enea Becheroni\u003C\u002Fstrong>, si unisce ai marmi pregiati del XIII secolo, forse provenienti dal Duomo, creando un mosaico storico e artistico unico. Le nicchie dei pilastri custodiscono imponenti statue di santi (1378-1382), realizzate da \u003Cstrong>Mariano d’Angelo Romanelli\u003C\u002Fstrong> e \u003Cstrong>Bartolomeo di Tommé\u003C\u002Fstrong>, mentre le grate in ferro battuto del XIV secolo, opera degli artigiani \u003Cstrong>Conte di Iello Orlandi\u003C\u002Fstrong> e \u003Cstrong>Pietruccio di Betto\u003C\u002Fstrong>, proteggono l’antico spazio sacro.\u003C\u002Fp>\r\n\r\n\u003Ch3>Dalla Maestà al Sodoma: arte che parla di fede\u003C\u002Fh3>\r\n\r\n\u003Cp>Tra il 1537 e il 1539, \u003Cstrong>Giovanni Antonio Bazzi\u003C\u002Fstrong>, detto \u003Cstrong>Il Sodoma\u003C\u002Fstrong>, arricchì l’altare con l’affresco della \u003Cstrong>Madonna con il Figlio e Dio Padre\u003C\u002Fstrong>. I resti di quest’opera straordinaria oggi si conservano nel Museo Civico, testimonianza tangibile della maestria della scuola senese. Ogni affresco e dettaglio narrano la devozione, l’arte e la storia di una città che sa trasformare la fede in bellezza duratura.\u003C\u002Fp>\r\n\r\n\u003Ch2>Cappella di Piazza, luogo di speranza e identità collettiva\u003C\u002Fh2>\r\n\r\n\u003Cp>La cappella mantiene il suo ruolo nella vita cittadina: ogni mattina del Palio, l’Arcivescovo celebra la \u003Cstrong>Messa del Fantino\u003C\u002Fstrong>, benedicendo i protagonisti e le Contrade. Nel 2022, illuminata di blu e giallo, ha espresso la vicinanza della città al popolo ucraino, confermando la sua vocazione di luogo simbolico di speranza, solidarietà e identità collettiva.\u003C\u002Fp>","\u003Cp> La \u003Cstrong>Cappella di Piazza\u003C\u002Fstrong> a Siena è un ambiente ricco di storia, arte e devozione tra affreschi, sculture rinascimentali e tradizioni secolari che rendono unico Palazzo Pubblico.\u003C\u002Fp>","Cappella di Piazza, il gioiello tra le mura del Palazzo Pubblico di Siena","\u003Cdiv>Rivivi la storia della \u003Cstrong>Cappella di Piazza\u003C\u002Fstrong> a Siena, dove ogni affresco, statua e dettaglio racconta secoli di devozione e tradizione senese.\u003C\u002Fdiv>",{"@type":1443,"@id":1444,"locale":1445,"name":1446,"position":1447},"cappella-di-piazza","\u002Fcappella-di-piazza",{"@type":1478,"@id":1852,"description":1853,"abstract":1854,"timetable":15,"title":1855,"subtitle":15,"ctaText":1856,"extraInformations":15,"language":1857,"slug":1849,"slugFormatted":1858},"\u002Fapi\u002F.well-known\u002Fgenid\u002F67c29cf0f2980431130b","\u003Ch2>Piazza Chapel, the artistic and spiritual miracle of medieval Siena\u003C\u002Fh2>\r\n\r\n\u003Cp>It was 1352. Siena was still licking its wounds after the devastating \u003Cstrong>Black Death\u003C\u002Fstrong> four years earlier: decimated, but ready to rise again like a phoenix. Thus, the \u003Cstrong>Piazza Chapel\u003C\u002Fstrong> was founded as a thank you to the Virgin Mary for the end of the plague, as a sign of hope and rebirth, as a symbol of the fusion between civil power and Sienese spirituality. The building tells centuries of history: from its origins as a portico with three arches, to its transformation into a sacred chapel with a ribbed vault between the 13th and 14th centuries, up to the placement of the wooden choir for the relics of Constantinople in 1359.\u003C\u002Fp>\r\n\r\n\u003Ch3>Architecture and sculpture: a mosaic of Sienese mastery\u003C\u002Fh3>\r\n\r\n\u003Cp>Between 1461 and 1468, \u003Cstrong>Antonio Federighi\u003C\u002Fstrong> revolutionized the structure with a vault supported by semicircular arches and refined “antiquizing” details. The facade, completely redone in 1846 by \u003Cstrong>Enea Becheroni\u003C\u002Fstrong>, joins the precious marbles of the 13th century, perhaps from the Cathedral, creating a unique historical and artistic mosaic. The niches of the pillars house imposing statues of saints (1378-1382), created by \u003Cstrong>Mariano d’Angelo Romanelli\u003C\u002Fstrong> and \u003Cstrong>Bartolomeo di Tommé\u003C\u002Fstrong>, while the wrought iron grilles of the 14th century, crafted by artisans \u003Cstrong>Conte di Iello Orlandi\u003C\u002Fstrong> and \u003Cstrong>Pietruccio di Betto\u003C\u002Fstrong>, protect the ancient sacred space.\u003C\u002Fp>\r\n\r\n\u003Ch3>From the Majesty to Sodoma: art that speaks of faith\u003C\u002Fh3>\r\n\r\n\u003Cp>Between 1537 and 1539, \u003Cstrong>Giovanni Antonio Bazzi\u003C\u002Fstrong>, known as \u003Cstrong>Il Sodoma\u003C\u002Fstrong>, enriched the altar with the fresco of the \u003Cstrong>Madonna with Child and God the Father\u003C\u002Fstrong>. The remains of this extraordinary work are now preserved in the Civic Museum, a tangible testimony to the mastery of the Sienese school. Each fresco and detail narrate the devotion, art, and history of a city that knows how to transform faith into lasting beauty.\u003C\u002Fp>\r\n\r\n\u003Ch2>Piazza Chapel, a place of hope and collective identity\u003C\u002Fh2>\r\n\r\n\u003Cp>The chapel maintains its role in city life: every morning of the Palio, the Archbishop celebrates the \u003Cstrong>Mass of the Jockey\u003C\u002Fstrong>, blessing the protagonists and the Contrade. In 2022, illuminated in blue and yellow, it expressed the city's solidarity with the Ukrainian people, confirming its vocation as a symbolic place of hope, solidarity, and collective identity.\u003C\u002Fp>","\u003Cp>The\u003Cstrong> Chapel of the Piazza\u003C\u002Fstrong> in Siena is a place rich in history, art, and devotion, with frescoes, Renaissance sculptures, and centuries-old traditions that make the Palazzo Pubblico unique.\u003C\u002Fp>","Piazza Chapel, the jewel within the walls of the Palazzo Pubblico in Siena","\u003Cdiv>Relive the history of the\u003Cstrong> Piazza Chapel\u003C\u002Fstrong> in Siena, where every fresco, statue and detail tells of centuries of Sienese devotion and tradition.\u003C\u002Fdiv>",{"@type":1443,"@id":1453,"locale":14,"name":1454,"position":9},"\u002Fen\u002Fcappella-di-piazza",[],[1861,1865],{"@type":1496,"@id":1862,"translations":1863,"position":1447,"imagePath":1864},"\u002Fapi\u002F.well-known\u002Fgenid\u002Fdb369806874d26c7c18c",[],"https:\u002F\u002Fd3i8lfewrnejp4.cloudfront.net\u002Fml\u002Fgallery\u002Fcappella-di-piazza-dettaglio-facciata-6a8c1e81ece4a396774477.jpg",{"@type":1496,"@id":1866,"translations":1867,"position":1447,"imagePath":1868},"\u002Fapi\u002F.well-known\u002Fgenid\u002F6caaae180be85c291f8b",[],"https:\u002F\u002Fd3i8lfewrnejp4.cloudfront.net\u002Fml\u002Fgallery\u002Fcappella-di-piazza-del-campo-dettaglio-statue-6a8c1e82193e3159444236.jpg",{"@type":1505,"@id":1870,"hashParam":1871},"\u002Fapi\u002F.well-known\u002Fgenid\u002F4734bf125e89c2fa5511","3c596fb6a2e68a8103d60f7ab0369b8de6768f98cba0f20e56398cf1e4cd8026",90,[],[],{"@id":1876,"@type":1514,"first":1876,"last":1877,"next":1878},"\u002Fapi\u002Fpois?itemsPerPage=4&poiType.translations.name=Art%20and%20heritage&page=1","\u002Fapi\u002Fpois?itemsPerPage=4&poiType.translations.name=Art%20and%20heritage&page=9","\u002Fapi\u002Fpois?itemsPerPage=4&poiType.translations.name=Art%20and%20heritage&page=2",{"@type":1516,"template":1517,"variableRepresentation":1518,"mapping":1880},[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905],{"@type":1521,"variable":1522,"property":1522,"required":25},{"@type":1521,"variable":1524,"property":1522,"required":25},{"@type":1521,"variable":1526,"property":1526,"required":25},{"@type":1521,"variable":1528,"property":1526,"required":25},{"@type":1521,"variable":1530,"property":1530,"required":25},{"@type":1521,"variable":1532,"property":1530,"required":25},{"@type":1521,"variable":1534,"property":1534,"required":25},{"@type":1521,"variable":1536,"property":1534,"required":25},{"@type":1521,"variable":1538,"property":1538,"required":25},{"@type":1521,"variable":1540,"property":1540,"required":25},{"@type":1521,"variable":1542,"property":1540,"required":25},{"@type":1521,"variable":1544,"property":1544,"required":25},{"@type":1521,"variable":1546,"property":1544,"required":25},{"@type":1521,"variable":1548,"property":1548,"required":25},{"@type":1521,"variable":1550,"property":1548,"required":25},{"@type":1521,"variable":1552,"property":1552,"required":25},{"@type":1521,"variable":1554,"property":1552,"required":25},{"@type":1521,"variable":1556,"property":1556,"required":25},{"@type":1521,"variable":1558,"property":1556,"required":25},{"@type":1521,"variable":1560,"property":1560,"required":25},{"@type":1521,"variable":1562,"property":1560,"required":25},{"@type":1521,"variable":1564,"property":1564,"required":25},{"@type":1521,"variable":1566,"property":1564,"required":25},{"@type":1521,"variable":1568,"property":1569},{"@type":1521,"variable":1571,"property":1538}]