When it comes to determining how to plan the logistics of your travels in Tuscany and Umbria, you are both blessed and cursed. For better or worse, and to understate the case, there is just so much to see. Fortunately, the regions are compact enough that you can travel through them with ease, and the road and train networks are excellent.
Statue of Dante Alighieri outside Santa Croce, Florence
Steve MacDonald/Apa Publications
One approach is to divide the regions into sections to be explored in forays from various prinicipal bases. From Florence you can explore Fiesole, Pistoia, Lucca, Pisa and the Chianti countryside to the south, as well as the lesser-known Mugello to the north. From Siena you can follow a spur of the Apennines that separates the central valleys of Italy from the Mediterranean coast, and explore a string of hill towns that include San Gimignano, Volterra and Montepulciano. The centuries-old university town of Perugia is a perfect base from which to set out for Gubbio, Assisi, Spoleto, Orvieto... and the list could go on.
Florence
Florence 1 [map] has been variously described as the most beautiful city in Italy; a ‘city of stone’, imposing and difficult to penetrate; the artistic and humanistic seat of the Renaissance; and one of the most popular tourist destinations in the world. It should come as no surprise, then, that its history is as varied as its current incarnations.
Florence was founded by Julius Caesar as a colony for old soldiers in 59BC, and traces of this orderly era remain in the neat layout of blocks between the Duomo and the Piazza della Signoria. The city muddled through the Roman era as a pleasant backwater, survived the Dark Ages intact, and then, through the wars, revolutions and religious turmoil of the next centuries, began to prosper. Under the generous patronage of the ruling Medici family, sculptors, painters, poets and architects thrived. A surprising number of their works have remained in Florence, kept there by a clause in the will of Anna Maria Ludovica, the last Medici, who in 1743 stipulated that none of the family’s vast holdings was ever to leave Florence. Her wishes have largely been respected, and Florence today provides the visitor with an amazing concentration of the legacy of the remarkable minds of the Renaissance.
View from the top
Queues form at a doorway on the north side of the Duomo’s exterior to climb the stairs leading to the top of the dome. The summit provides an extraordinary panorama of the city.
All this cultural heritage may sound a bit daunting, but take heart. Sights are close to each other, and all are just a few minutes’ walk from the Piazza del Duomo and its cathedral, the visual and geographic centre of the city.
Subtle changes may be taking place in Florence – more pedestrianised zones, the rejuvenation of the Arno riverbanks – but the city remains the Florence we all know and love.
Piazza del Duomo
The Duomo A [map] (more properly, Santa Maria del Fiore; Mon– Wed, Fri 10am–5pm, Thur 10am–4pm, Sat 10am–4.45pm, Sun 1.30–4.45pm; charge; www.operaduomo.firenze.it) was more than a century in the making. Begun at the end of the 13th century, it was not completed until the late 1460s. The original plans were drawn up by Arnolfo di Cambio, who envisioned the largest cathedral in the world, with an octagonal crossing measuring nearly 46m (150ft) across, to be topped by an enormous dome. Just eight years after construction began, Arnolfo died. A series of architects continued his work, completing the body of the church and the drum for the dome by 1418.
Marble collection – the Baptistery, Duomo and Campanile
Britta Jaschinski/Apa Publications
The architects faced a considerable structural challenge – how to erect a 91m (300ft) high dome over the vast crossing. Into the bickering community of architects and masons stepped fledgling architect Filippo Brunelleschi, who said he could build it, and without using expensive scaffolding, but declined to say how. He was given the job, and confounded sceptics with the elegance of his solution. He designed the dome to be built in two shells of brick, arranged in cantilevered rings so that, as the structure rose, each layer of masonry would support the one above. The Duomo remains one of the masterpieces of the Renaissance, visible from every point in the city, and providing fine views from every angle.
The exterior of the Duomo is clad in patterned marble of three hues – green, white and red – but the overly elaborate facade is actually a 19th-century construct. On the north facade is Porta della Mandorla; its relief, The Assumption of the Virgin, was executed by Nanni di Banco in the 15th century.
The interior is vast, almost austere in its lineaments. The cathedral has accommodated 10,000 worshippers in its bare, grey-and-white interior. Busts of Brunelleschi and Giotto are placed near the entrance. On the wall of the left aisle is a frescoed memorial to Sir John Hawkwood, the English mercenary who was a battle-winning captain of the Florentine army from 1377 until his death; it was painted by Paolo Uccello in the 15th century. Near the end of the aisle is a 15th-century painting by Domenico di Michelino, Dante Explaining the Divine Comedy, in which the Duomo is placed in clear opposition to Hell and Purgatory – a juxtaposition whose meaning must have been clear to a contemporary Florentine. In the right aisle are steps leading down to the old Santa Reperata church, around which the Duomo was built. In 1972 excavators found a funerary slab inscribed with Brunelleschi’s name; it can now be seen through a gate.
The largest work of art in the Duomo is a fresco on the under-side of the dome depicting The Last Judgement; the work was designed by the Florentine architect Giorgio Vasari, executed by his student Frederico Zuccari in the late 16th century, and cleaned and restored in the late 20th. In his design, Brunelleschi added iron hooks to facilitate cleaning and even spaces where canteens were installed for the builders. The gallery provides an excellent vantage point to view seven circular stained-glass windows by Uccello, Castagno, Donatello and Ghiberti.
The Duomo tends to overshadow two other noteworthy buildings on the piazza – the Campanile and the Baptistery. The Campanile (daily 8.30am–7.30pm; charge) is one of the loveliest belfries in Italy. Begun by Giotto in 1334 and finished after his death, it has been hard-hit by atmospheric pollution, and many of its sculptural reliefs are copies. The originals, including works by Donatello, are in the Museo dell’Opera del Duomo. A terrace on top offers a view of the city.
The Baptistery (Mon–Sat 11.15am–7pm, Sun 8.30am–2pm; charge) dates from the 6th century, which makes it the oldest building in Florence. It may originally have been a temple to the Roman god of war, Mars; certainly it was once the city’s main church and the site of a kind of mass baptism every March for all Florentine children born during the preceding year. The building is most famous for its gilded bronze doors, the originals of which are on view in the Opera del Duomo museum.
The Baptistery’s magnificent gilded bronze east doors, the so-called ‘Gates of Paradise’
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The doors on the south were cast in 1336 by Andrea Pisano, who succeeded Giotto in overseeing the Campanile; their 28 compartments depict the story of John the Baptist, patron saint of Florence (for the edification of his audience). Some 60 years later, the city organised a competition to choose a sculptor for the north door. The surfeit of talent it attracted included Brunelleschi, Donatello and a 22-year-old Tuscan artist called Lorenzo Ghiberti. Ghiberti and Brunelleschi were deemed equally worthy by the judges, and it was suggested that they work together. But Brunelleschi chose instead to study dome-making in Rome, and Ghiberti worked alone.
The Museo dell’Opera del Duomo holds the original Baptistery doors
Britta Jaschinski/Apa Publications
His achievement is considerable. The north doors show scenes from the lives of Christ, the Evangelists, and the Doctors of the Church; one can see the sculptor’s skill grow with each subsequent panel. Pleased with his work, the city commissioned Ghiberti to cast doors for the east wall; he began work on those in 1425. There, in his masterpiece, he altered his earlier conception somewhat, forming 10 large panels to show scenes from the Old Testament. The art is vigorous and concise; the masterful low relief extends far into the background. Michelangelo, when he saw the work, called it the Gates of Paradise.
Inside, the Baptistery is stately, with its granite Roman columns and 13th-century mosaic ceiling and floors. The empty octagonal space in the centre was the site of the baptism of all of Florence’s children.
Much of the art that once adorned the cathedral and the Baptistery is now housed in the Museo dell’Opera del Duomo (Sun–Fri 9am–7.30pm, Sat 9am–1.45pm; charge) on the northeastern side of the piazza. The glassed-in courtyard of the museum is where Michelangelo carved his David (1504). On the mezzanine is Michelangelo’s second Pietà, partly finished by one of his students, and intended for the artist’s own funerary monument. The first floor houses two cantorie (choir balconies) dating from the 15th century. One is by Donatello and the other by Luca della Robbia. All 10 of the original Gates of Paradise from the Baptistery were finally reunited in the museum in September 2012 after 27 years of restoration. The doors will eventually be moved to a purpose-built space on an expanded museum expected to be completed between 2014 and 2015.
Palazzo Vecchio
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Piazza della Signoria
From the Duomo, Via dei Calzaiuoli leads south to the expansive Piazza della Signoria, the historical centre of Florence and once the political centre as well. Savonarola, the Dominican friar whose fiery, puritanical oratory against worldly excesses gripped Florence in the late 15th century, staged the Bonfire of the Vanities here, a huge conflagration of fine clothes, art and books. Savonarola was himself burned here, just a few years later. Today the piazza is framed by beautiful statues, including a copy of Michelangelo’s David. It also accommodates several cafés. At the south end is the Loggia dei Lanzi, a statue-filled portico built in the late 14th century. Pride of place is taken by two masterpieces of Renaissance sculpture: Giambologna’s Rape of the Sabine Women andDonatello’s Judith and Holofernes. Facing onto the piazza, Gucci sealed its 90th anniversary in 2011 with the unveiling of the Gucci Museo (daily 10am–8pm; charge; www.guccimuseo.com), a homage to this Florentine success story.
The Palazzo Vecchio B [map] (Fri–Wed 9am–7pm, Thur 9am–2pm, later at peak times; charge; www.museicivicifiorentini.it) also fronts on the square. Originally designed by Arnolfo di Cambio, with additions made over the next few centuries, it serves as the seat of the municipal government. The building is inevitably described as ‘fortress-like’ but actually contains some odd and lovely rooms that are open to the public. The huge Salone dei Cinquecento is panelled with 16th-century frescoes by Giorgio Vasari celebrating Cosimo de’ Medici’s military triumphs; beyond the salon is a windowless chamber built for Cosimo’s son, Francesco, and decorated to reflect his interest in alchemy.
Avoid the queues
Queues for the Uffizi and Accademia can be extremely long, especially during spring and summer. To make a reservation for a timed entrance go online at www.b-ticket.com/b-ticket/uffizi. Please note a small charge will be added to the price of the ticket.
Upstairs are several rooms of note – Eleanor of Toledo’s chapel decorated by Bronzini in frescoes glazed with tempera, and the Sala dei Gigli, with a lovely 15th-century ceiling. The attached Cancelleria was once Niccolò Machiavelli’s office; the adjacent room is adorned with maps that show the known world circa 1563.
Galleria degli Uffizi
A few steps away is the Gall-eria degli Uffizi C [map] (Tue–Sun 8.15am–6.50pm; charge; www.uffizi.firenze.it), which contains an unrivalled collection of Renaissance art, with masterworks by Giotto, Uccello, Botticelli, da Vinci, Michelangelo, Raph ael, Titian, Caravaggio and others. One could easily spend a week here. While that is probably not possible, certain treasures are not to be missed in even the shortest visit. A walk through the Uffizi gallery provides a fine overview of the flowering of European culture. Although some rooms may be closed and some paintings shifted, the following should give you the approximate locations of the major works.
Crowds outside the Uffizi
Britta Jaschinski/Apa Publications
On the second floor in Room 2 is the Ognissanti Maestà, the Madonna En thron ed, painted by Giotto in 1310, one of the first renderings of this subject to present it realistically. Room 3 contains the Annunciation by Simone Martini, with the Virgin regarding the angel from a field of gold. In the centre of Room 7 is a diptych by Piero della Francesca depicting Federico da Montefeltro, the Duke of Urbino, and his wife, painted in profile and gazing at each other still. Rooms 10 to 14, now one large hall, are devoted to Botticelli; note especially his Birth of Venus, in which the newly born goddess floats to shore on a shell. Room 15 contains early works by Leonardo da Vinci, including an Annunciation painted in 1472.
Succeeding rooms offer works by Albrecht Dürer, among others. In Room 25, the centrepiece is Michelangelo’s Tondo Doni (Holy Family) – his only finished easel painting. Room 28 is devoted to works by Titian, chief among them the Venus of Urbino, a fleshy and provocative nude. Rooms 31 to 34 display the works of artists from Italy’s Veneto region, including Tintoretto’s Leda and Paolo Veronese’s Annunciation. Room 44 has several Rembrandt portraits, notably his haunting Self-Portrait as an Old Man. Windows provide views of the city, and the halls are lined with self-portraits by Raphael, Velásquez and Ingres, among others. On the first floor (which formerly held the archives) are the Caravaggio rooms dedicated to the master of chiaroscuro and other ‘Caravaggesque’ painters.
The Uffizi holds the world’s greatest collection of Italian art
Corbis
Still on the first floor, in June 2012, the gallery opened nine new Red Rooms rich in masterpieces and artworks of important artists. These, together with the eight Blue Rooms inaugurated in December 2011, dedicated to foreign painters of the 16th, 17th and 18th centuries, corroborates that progress is finally being made to expand the Uffizi.
The pleasant roof-terrace bar is a good place to take a break and enjoy the view.
Around Piazza della Repubblica
The Piazza della Repubblica, entered on the western side through a grand triumphal arch, was built in the late 19th century on the site of the Roman forum, the first step in the planned redevelopment of the city. The 14th-century Mercato Vecchio and a jumble of medieval streets were cleared as part of a modernisation programme that, for whatever reason, was halted before the rest of the city could be changed. Today, lined with smart cafés that are packed at lunchtime with workers from the surrounding offices, it is the only modern intrusion in the heart of the city.
Atmospheric amble
Between the Duomo and the Piazza della Signoria, east of Orsanmichele, is an area of atmospheric medieval streets, well worth a wander.
Southeast of the square you’ll find Orsanmichele D [map] (Tue–Sun 10am–5pm), certainly one of the oddest churches extant. It was built to serve as a granary in 1337, then was turned into a chapel when an image of the Madonna inside became celebrated for performing miracles. The niches on the exterior are decorated with statues of saints by Verrocchio, Ghiberti and Donatello, commissioned by the city’s merchant guilds. (Most of the originals have been replaced by casts.) Inside is a masterful Gothic tabernacle designed by Andrea Orcagna in the mid-14th century.
To the south is the Mercato Nuovo (New Market, also called the Straw Market), where stalls are piled high with leather articles, painted trays and other typically Florentine goods. More enticing than most of the merchandise is Il Porcellino, a bronze copy of a reclining boar (the original is in the Uffizi); even haughty Florentines pause to rub the beast’s well-worn snout, an act that is said to ensure good luck.
From the Mercato Nuovo, follow Via Porta Rossa west, and you’ll find the PalazzoDavanzati (daily 8.15am–1.50pm, closed 1st, 3rd and 5th Mon, 2nd and 4th Sun of the month; charge). This 14th-century structure, with a somewhat intimidating facade, was once a family’s residence. The colourful interior has been restored to show how the palace would have looked. The fresco cycle in the bedroom and the vivid Sala dei Pappagalli are notable.
In the next piazza over is the Palazzo Strozzi (daily 9am–8pm, Thur until 11pm; charge; www.palazzostrozzi.org). Built in the late 15th to early 16th century for the Strozzi family, it now hosts important art exhibits and has a delightful courtyard. The Strozzina, a contemporary art space under the courtyard, has an expanding programme of a variety of international exhibitions.
The Bargello and Santa Croce
The east side of the historic centre starts at the Bargello E [map] (daily 8.15am–1.50pm, closed 2nd and 4th Mon, 1st, 3rd and 5th Sun of the month; charge; www.firenzemusei.it). This imposing structure was built in the mid-13th century, and for many years was the seat of the magistrate of Florence, and the site of numerous trials, with public executions in the courtyard. Restored in the 19th century, this is now an elegant spot.
The great hall of the Museo Nazionale del Bargello contains works by Michelangelo and his school. He carved the classically inspired Bacchus when just 22 years old, and the bust of Brutus after the murder of the autocratic Duke Alessandro de’ Medici in 1537, as a statement of his republican principles. A stairway leads from the courtyard to the loggia, home to a series of bronze birds cast by Giambologna for a Medici villa. A doorway to the right opens into a 14th-century salon dominated by works by Donatello. Most notable are his bronze of David, and his figure of Saint George, carved in 1416.
Santa Croce, said to have been founded by St Francis
Britta Jaschinski/Apa Publications
In a rear corner are two bronze panels that Ghiberti and Brunelleschi entered in the competition to cast the doors of the Baptistery; the theme is the Sacrifice of Isaac. The remaining rooms on this floor contain a wide-ranging array of decorative art, including ivory carvings from Europe and the Middle East. On the second floor, the Sala dei Bronzetti holds a remarkable display of small Renaissance bronzes.
From the Bargello, go south into Piazza San Firenze, and turn left onto Borgo dei Greci, which will take you all the way to the church of Santa Croce F [map] (Mon–Sat 9.30am–5.30pm, Sun 2–5.30pm; charge), the Franciscan outpost in the city, said to be founded by St Francis himself. It was begun at the end of the 13th century and consecrated in the mid-15th; the facade was not completed until 1857.
Today the huge interior serves as the final resting place for many prominent Florentines, including Michelangelo (first tomb on the right aisle, designed by Vasari), Dante Alighieri (monument only; his bones are in Ravenna) and Galileo (on the opposite side). The frescoes in the Cappella Peruzzi and the Cappella Bardi, on the right side of the church, are by Giotto. Their poor condition is partly because he painted onto dry plaster instead of wet, and partly because of vandalism – in the 18th century, they were whitewashed over, then retouched in the 19th. Nonetheless, Giotto’s depictions of scenes from the lives of St John the Evangelist, St John the Baptist and St Francis are infused with his vigour and humanity; above the entrance to the Bardi Chapel is the powerful Saint Francis Receiving the Stigmata. Note also Donatello’s wooden crucifix in the chapel at the end of the left transept, criticised by Brunelleschi for making Christ look like a mere peasant, but peculiarly resonant to modern eyes.
Florence Markets
Markets are a wonderful place to witness the daily activity of the townspeople. Florence is one of the best cities for markets selling fresh foods and local goods. While bargaining can sometimes be used when purchasing local goods such as scarves, jewellery, leather goods or other clothes, it is not recommended that you try it when buying from the food stands.
Mercato Centrale. Mon–Fri 7am–2pm, Sat until 5pm. Fresh fruit, vegetables, meat, fish and other local culinary specialities. Under cover in Via dell’Ariento.
Mercato Nuovo (Straw Market). Mon–Sat 9am–6.30pm Local goods at Piazza del Mercato Nuovo.
San Lorenzo street market. Daily 9am–7.30pm. A huge area of stands selling local goods from Piazza San Lorenzo to Via dell’Ariento.
Mercato di Sant’Ambrogio. Mon, Tue and Thur 7.30am–2pm, Wed and Fri until 7pm, Sat until 5pm. The second-largest fresh food market in the city, in Piazza Sant’Ambrogio.
Santa Maria Novella to the Accademia
North of the centre, near the main station, is SantaMaria Novella G [map] (Mon–Thur Sat 9am–5.30pm, Fri11am–5.30pm Sat 9am–5pm, Sun noon–5; charge), a 14th-century Dominican church with an oddly cheerful green, white and pink marble facade. The interior contains some lovely frescoed chapels, especially the sanctuary behind the main altar, created by Ghirlandaio and his assistants, including a young Michelangelo. The adjoining museum, in the cloisters, has frescoes by Paolo Uccello. His depiction of the biblical flood was damaged by the 1966 floods, but his mastery of perspective can still be appreciated.
Autumnal local produce
Britta Jaschinski/Apa Publications
A few blocks east is San Lorenzo H [map] (Mon–Sat 10am–5.30, Sun 1.30–5.30; charge), the Medici’s local parish church and the oldest in Florence. Their patronage funded a rebuilding of the original 4th-century structure in the 15th century, designed by Brunelleschi. His skill is evident in the Old Sacristy, a lovely bit of Renaissance architecture, decorated with terracotta designed by Donatello. The Medici Chapels (daily 8.15am–4.50pm, closed alternate Sun and Mon; charge), entered behind the church, contain a gloomy and ornate collection of Medici tombs. The highlight is the New Sacristy, designed by Michelangelo in 1520; note especially his carved tombs for Lorenzo, Duke of Urbino, and Giuliano, Duke of Nemours.
In San Lorenzo street market on the piazza, you may, with a sharp eye and strength to fend off aggressive sales pitches, be able to find some excellent leather goods and clothing. North of the church is an interesting commercial enterprise, the Mercato Centrale, the city’s major food market.
Leaving the market, walk onto Via Cavour and take a left to reach the Palazzo Medici Riccardi (Thur–Tue 9am–7pm; charge; www.palazzo-medici.it), once home to the Medici and a perfect example of Renaissance architecture. Inside, the tiny Chapel of the Magi is breathtaking. Painted by Benozzo Gozzoli, it depicts the Medici family in the Magi’s procession.
Outside cross Via Cavour, go down Via dei Pucci and turn left at the first intersection, Via Ricasoli, to the Galleria dell’ Accademia I [map] (Tue–Sun 8.15am–6.50pm; charge; www.firenzemusei.it), a fine art gallery that contains several transcendent sculptures by Michelangelo, including his David. Michelangelo completed the statue at the age of 29, and it originally stood outside the Palazzo Vecchio; it was moved to the Accademia in 1873. Designed as a public monument, it tends to dwarf its space here, but remains one of the most popular sights in the city. The hall leading to David contains The Slaves, which Michelangelo began some 20 years later. The figures appear to be unfinished, and the artist’s intention is a subject of debate among art historians. Whatever the case, this work seems to typify Michelangelo’s belief that sculpture is an ‘art that takes away superfluous material’.
A few steps further up Via Ricasoli are the church and monastery of San Marco (Mon–Fri 8.15am–1.50pm, Sat–Sun until 4.30pm, closed 2nd and 4th Mon, 1st, 3rd and 5th Sun of the month; charge). A monastery has stood here since medieval times; in 1437 it was converted into a Dominican retreat by Cosimo de’ Medici, and soon became the site of Europe’s first public library. One of the early friars was the artist Fra Angelico, and the monastery was also the home of Savonarola, the puritanical preacher, who was prior here before being burned at the stake in 1498. The museum, entered off a cloister, has many of Fra Angelico’s devotional images, painted with loving detail, but his masterpieces are in the Dormitory, where the monks lived. They include the Annunciation, at the top of the stairs, and others in various rooms, designed to inspire the monks in their contemplations.
Ponte Vecchio, the only bridge that survived World War II
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Across the Ponte Vecchio to the Oltrarno
The traditional way to cross the River Arno is on foot, via the Ponte Vecchio J [map]. It was built in 1345, on the site of an older wooden bridge, and is the only one of the city’s bridges that wasn’t mined by the German army during World War II. Its stalls are lined with shops, many selling jewellery. Via Guicciardini leads directly to the Palazzo Pitti K [map] (www.uffizi.firenze.it), an immense structure begun in the middle of the 15th century to a design by Brunelleschi; the original Renaissance concept is now almost completely obscured by additions made over the next few centuries. The Pitti family were rivals in wealth and power to the Medicis; the palace was intended as a statement to that effect. As fate would have it, the Medicis eventually moved into the Pitti Palace themselves.
Michelangelo
After proving his ability in the workshop of Domenico Ghirlandaio, Michelangelo (1475–1564) was sent at just 14 years of age to serve in the court of Florence’s most important patron, Lorenzo de’ Medici. The artist was still a young man when he secured his reputation with the Pietà in St Peter’s in Rome. He was to return there to work on the ceiling of the Sistine Chapel, but not before he enriched Florence with such works as David, now in the Galleria dell’Accademia. Michelangelo’s sculptures can be found throughout Florence, in the Medici Chapels, the Museo dell’Opera del Duomo, the Casa Buonarotti (a museum dedicated to Michelangelo, located at Via Ghibellina 70), the Bargello and Palazzo Vecchio, to name just a few.
The palace and the adjoining Giardino di Boboli contain five museums, most notably the Galleria Palatina (Tue–Sun 8.15am–6.50pm; charge), a series of ornately decorated apartments that house an excellent collection of High Renaissance art. In the Sala di Apollo are two works by Titian – his Portrait of an Unknown Gentleman and a golden portrayal of Mary Magdalene. The Sala di Giove contains Raphael’s La Velata, a serene portrait of his Roman mistress. Raphael also fills the Sala di Saturno, particularly his Madonna dellaSeggiola, a rounded depiction that seems to curve off the canvas. Other museums in the complex include one devoted to modern art, and one to decorative arts.
Statue in Boboli Gardens
Steve MacDonald/Apa Publications
The lovely Giardini di Boboli (Boboli Gardens; daily 8.15am–sunset, closed 1st and last Mon of the month; charge) have been open to the public since 1766. The paths traverse a steep hill, beautifully planted and with many shady corners. In an amphitheatre in the centre, the Medicis staged lavish entertainments that involved singing and dancing and were probably an early form of opera. The gardens are dotted with sculpture; note especially the Grotto del Buontalenti to the left of the entrance, a man-made cave complete with stalactites, stone animals and copies of Michelangelo’s famous statues The Slaves. The originals stood here until 1909 and are now in the Galleria dell’ Accademia. The Forte di Belvedere, at the crest of the hill, provides a wonderful view of the city, with the Duomo floating above the skyline.
From the Palazzo Pitti, the Oltrarno neighbourhood extends both east and west along the Arno. Heading west, you’ll find tiny streets that open onto the piazza and church of Santo Spirito (Mon, Tue, Thur–Sat 10am–12.30pm, Sun 4–5.30pm), which, with its unadorned facade, is another good example of Brunelleschi’s Renaissance architecture. Continuing on, Santa Maria del Carmine (Mon and Wed–Sat 10am–5pm, Sun 1–5pm; charge) houses Tuscan artist Masaccio’s masterful Brancacci Chapel, painted in the 1420s.
Eastbound along the river, you will eventually come to the Porta San Niccolò, an original piece of the city walls, where you can start a climb to Piazzale Michelangelo. Ascending the ramps behind San Niccolò, you eventually come to the piazza with the most acclaimed panoramic view of Florence. Home to the second replica of the David, the piazza offers a commanding vista of the city, and many Florentines and tourists gather here for the sunset.
From Piazzale Michelangelo, you can take the road further up the hill towards the Romanesque-style church of San Mini-ato al Monte L [map] (summer, daily 8am–8pm, winter, Mon–Sat 8am–1pm, 3–6pm, Sun 3.30–7pm). This church, with a still working monastery, is renowned for its Christ between the Virgin and St Minias mosaic, dating back to the mid-13th century.
The view from Piazzale Michelangelo
Britta Jaschinski/Apa Publications
Around Florence
While Florence itself can be all-consuming, several spots nearby provide delightful day trips, and an opportunity to get a different perspective on the city itself.
The hills of Fiesole
Britta Jaschinski/Apa Publications
Fiesole
Fiesole 2 [map], perched on the hills to the northeast 8km (5 miles) from Florence, is one such town. (Take the No. 7 ATAF bus from Santa Maria Novella station.) Originally settled by the Etruscans, the municipality waged an uneasy battle with its larger, richer neighbour for centuries – until 1125, when the Florentines attacked and levelled it, piously preserving only the cathedral and the bishop’s palace. Since then, Fiesole has been a retreat for the city’s wealthy from the summer heat and humidity, a heritage that shows today in its many beautifully kept villas, each surrounded by extensive gardens.
Fiesole’s centre is the Piazza Mino, a fine spot for an iced drink on a hot day; from here you can admire the Duomo and its graceful campanile. Via Marini, off the piazza, leads to the Area Archeologica (Mar–Oct 10am–6pm, Nov–Feb 10am–2pm, charge) where you will find a Roman theatre. The 3,000-seat theatre, built in the 1st century BC, was excavated at the end of the 19th; it is well preserved and still used for performances. Three arches nearby mark the site of the Roman baths, and from here it is possible to view a stretch of the original Etruscan city walls. Signs to the east of the theatre point up a hill towards three Etruscan tombs dating from the 3rd century BC.
Villa Medici, just outside Fiesole
Dreamstime
You might wish to walk back to Florence on the signposted old Fiesole road; if so, stop on the way to admire the gardens of the Villa Medici, which is open to the public by appointment only (tel: 055-59164).
The Mugello
A few kilometres north of Florence, the Apennine foothills and the Sieve river basin form the Mugello region, which is characterised by gentle hills and fertile valleys, olive groves, vineyards, oak and chestnut woods. (It can be reached by bus from Florence or by car from the Barberino di Mugello exit of the A1.) The Mugello has great associations with the Medici, the Italian Renaissance’s most important family, who originated from here and built many of their extravagant villas around the countryside. At first these country houses were fortified hideouts, but in more peaceful times they became luxurious second (or third) homes.
The restored Villa Cafaggiolo (Sat–Sun 10am–12.30pm, 2.30–6.30pm, mid-Apr–mid-Oct also Wed and Fri 2.30–6.30pm), originally a fortress, was altered in 1451 by architect Michelozzo at the request of Cosimo de’ Medici to create a country retreat where writers and artists were lavishly entertained. A little further south, Castello del Trebbio (guided visits Tue–Thur am by appointment, tel: 055-830 4900) received similar treatment at the hands of Michelozzo and, more than any other 15th-century Tuscan villa, retains the feudal atmosphere of Medici times.
Chianti
South of Florence is the lovely Chianti country, an area of clustered peaks surrounded by rolling hills and crossed by a multitude of streams. Grapes have been planted and fermented in this temperate, rural region for thousands of years, and despite recent immigration by more northerly Europeans who summer and retire here, it has maintained a sense of peace and purpose.
Although most major towns are served by train and/or bus from Florence and Siena (the cities are 70km/43 miles apart), the best way to appreciate Chianti is by car. Although you can speed through the region in about half an hour on a modern motorway that links the two towns, the best route to take is the SR222, the Chiantigiana, which winds through the heart of the region in leisurely fashion and links to the myriad of tiny roads that serve it.
It can be difficult to find the start of the SR222, but you really don’t want to settle for one of the alternative, less attractive routes to Siena; from central Florence, look for the Firenze Certosa or Firenze Sud entrances to the A1 autostrada, which speeds south to Rome; the Chiantigiana and the first village you come to on the road, Grassina, are well signposted from either entrance. You’ll need a good map and a sense of adventure because, while many of the loveliest towns and most famous vineyards are near the motorway, the most rewarding stops are those you will discover yourself.
Arguably the best recognised wine in the world, Chianti was created by the Grand Duke Cosimo de’ Medici III in 1716, when he declared that only certain parts of Tuscany could call their wine Chianti.
Drive slowly south to Greve 3 [map], 45km (28 miles) from Florence, the centre of the wine trade and the host each September of the region’s largest wine fair. Greve began life as a market town in the 13th or 14th century, and has slowly grown to become Chianti’s unofficial capital. Its charming central Piazza Matteotti is lined with a patchwork of arcades, each built by a different wine-grower. The statue in the centre of the square is of Giovanni Verrazano, the European discoverer of New York harbour, who was born nearby. You will notice that there is a wine shop on nearly every corner, many offering tastings, and all stocking varieties unavailable elsewhere.
The famous Chianti bottle
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Greve’s castle burned down in the 14th century, and its convent has long since been converted to a prison. But just 1km (0.5mile) to the west is the castle of Montefioralle, a well-restored fortification with octagonal walls and two fine Romanesque churches. It provides an evocative image of the region as it once was.
Wine-tasting
Many vineyards give tours of their wine cellars and arrange special tastings, usually for a minimal price. This is a great opportunity to take part in the local wine-producing tradition.
Radda, some 10km (6 miles) south of Greve, has a lovely and well-preserved historic centre, and is an appealing spot for a stroll. On the way there, you might wish to make a short detour to the Castello di Volpaia, one of the region’s wine estates that has developed into a small tourist town offering tours, tastings and products for sale. Most of the large medieval castle is gone now, but the central keep still stands. The surrounding village is medieval in tone, but contains a pretty Renaissance church. Just east of Radda is the Badia a Coltibuono, an abbey founded in 770, now an agricultural estate that produces a fine red wine.
The Road to Lucca
Heading west from Florence the road to Lucca passes through changing terrain, as well as several fascinating towns that are well worth visiting in their own right.
Prato
Prato lies 17km (10 miles) to the northwest of Florence. The 15th-century Duomo, in the central piazza, is fronted by an Andrea della Robbia terracotta over the portal, and the Pulpit of the Sacred Girdle, with friezes by Donatello (originals are now in the museum), on the southwest corner. Inside the Duomo, frescoes by Filippo Lippi surround the altar.
On the southern outskirts of Prato you’ll find the Villa Medici di Poggio a Caiano 4 [map] (daily 8.15am-6.30pm, with exceptions; www.uffizi-firenze.it), one of the earliest and most typical Medici villas. Lorenzo the Magnificent bought a farmhouse on the site in 1480, then had it rebuilt in the Renaissance style. It is raised on a podium; the entrance is actually through the basement, which is furnished with games rooms and a private theatre. Upstairs is a huge salon, decorated with lovely frescoes, and the gardens are a pleasant place to stroll.
Via Francigena
Many Tuscan towns witnessed an increase in activity and a jump in population during medieval pilgrimages to Rome along the Via Fran-cigena, a route roughly 1,600km (1,000 miles) long that led from Canterbury in southern England all the way to Rome. At the end of the 10th century the Archbishop of Canterbury documented his trip along this road from England through France to Switzerland, then through Tuscany, including stops in Lucca, San Gimignano and Siena, and finally to Rome.
Pistoia
Pistoia 5 [map], 35km (21 miles) northwest of Florence (accessible by train or bus; by car, take the A11 or SR435), has a medieval centre with narrow alleys. Pistoia was the seat of battles that plagued Tuscany in the 13th century and, appropriately, its name is the origin of the word ‘pistol’. Today it is a busy industrial city, and the site of some lovely Romanesque churches. The Duomo (daily 8am–12.30pm, 4–7pm), in the central piazza, was built in the 13th century and contains the remarkable Chapel of San Jacopo, a construction of gilded silver decorated with medieval saints and scenes from the Bible. Two prophets, carved by Brunelleschi, stand on the right. The Ospedale del Ceppo is a hospital founded in the 13th century and still in use. The terracottas on the facade illustrate the cardinal and theological virtues, depicted by Giovanni della Robbia (son of Andrea).
Piazza Anfiteatro, Lucca
Steve MacDonald/Apa Publications
Montecatini Terme
Just west of Pistoia is Valdinievole, or the Valley of the Mists, where spas are fed by underground springs and Florentines have for centuries sought a cure for the excesses of city life. The best-known is Montecatini Terme (www.termemonticatini.it), 46km (28 miles) west of Florence and 12km (7 miles) west of Pistoia (easily reached by train from either, or by car via the A11 or SR435). Here the waters are sulphurous and the shopping luxurious. The centre of town is the Parco dei Termi, where a row of spas housed in neoclassical temples perch over various springs. Most are open for mud wraps, mineral elixirs and relaxation every day year-round.
Lucca
A graceful and prosperous provincial capital, 77km (47 miles) west of Florence on the A11, Lucca 6 [map] is encased by peculiarly elegant 16th-century walls – protective as well as decorative. The city is less visited than some surrounding spots, yet has a considerable charm, along with some famous musical sons, Boccherini and Puccini among them. To get a sense of the city, take a stroll or a bicycle ride along the tops of the walls, which are planted with plane trees and provide lovely views; note the grid layout of the streets, a remnant of the city’s Roman past. You might also note a paucity of cars. More than other Italians, Luccans tend to ride bicycles, and this makes the city a bit more pedestrian-friendly than most in Italy.
Buskers on Piazza San Michele, Lucca
Steve MacDonald/Apa Publications
The Cattedrale di San Martino (Sun–Fri 9.30am–5.45pm, Sat 9.30am–6.45pm), on the piazza of the same name, has an asymmetric facade of green and white marble decorated with a striking assortment of little columns. Note the pillar next to the tower; it is carved with a 12th-century labyrinth, a symbol of just how hard it is to get to Heaven. Under it are 13th-century stone reliefs; the sculptures around the doors are by Nicola Pisano and others. Inside, in the sacristy, is the moving tomb of Ilaria Carretto Guinigi. Made by Jacopo della Quercia in the 15th century, it commemorates the young wife of a rich Luccan, memorialising her beauty. The octagonal Tempietto (Little Temple) by Matteo Civitali was built to house the Volto Santo, a wooden statue of Jesus crucified that is said to have been carved by Nicodemus. The museum across the street from the Cathedral contains the gold and jewel-encrusted ornaments used to dress the Volto Santo on special holidays.
A few blocks away, on the Piazza San Michele, is San Michele in Foro (daily 7.40am–noon, 3–6pm), a 12th-century Romanesque church with a lovely facade. The body of the church is unfinished, and so the facade, with its rows of columns, each one different from the other, towers above it with the upper levels fronting pure air. The effect is magical. Inside, in the right nave, is an ornately painted organ and a painting by Filippino Lippi of various saints. Opera-lovers may wish to visit the church of Paolino, just two blocks to the west, where Puccini was once the organist.
The Garfagnana
North of the lowlands around Lucca are dramatic snowcapped mountains, terraced hillsides, deep gorges and mountain streams, populated by deer, wild boar, badgers and wolves, not to mention flocks of walkers, canoeists, rock climbers and cavers. This area, known as the Garfagnana, is packed with scenic routes and protected nature reserves.
Carrara’s marble quarries have been worked for centuries
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Of great importance is the marble quarry town of Carrara 7 [map] accessible by car from the A12, which connects to the A11 out of Lucca). There are extraordinary views down into the quarries, which have supplied sculptors with raw material for centuries.
Pisa and the Coast
The Tuscan coast is a land apart from the rest of the province, separated from the valleys of central Tuscany by a coastal ridge of the Apennines and so different in appearance you won’t associate it with any of the familiar images of vineyard-clad hills and undulating valleys. Here the landscape is flat, even marshy in parts, and often punctuated with oil refineries, cranes, bustling ports, and other accessories of the business of modern life. This is not to say there are not places that reward your journey to this part of Tuscany. Pisa is here, and Livorno offers the chance to explore a working port city and enjoy a seafood meal.
Pisa’s famous landmark
Steve MacDonald/Apa Publications
Pisa
The university town of Pisa 8 [map], 25km (16 miles) southwest of Lucca, was a maritime power in the 11th century and one of the largest and most cosmopolitan cities in Europe; its lovely centre is a testament to those days. From Lucca, take route SS12 or the A11 and A12 autostrade to Pisa; there are also frequent bus and train services between Lucca and Pisa. If you plan to make a day trip to Pisa directly from Florence (the distance is 77km/ 47 miles), take the A11 and A12 autostrade.
The Leaning Tower
The tower leans at an angle of 3.97 degrees. Its height is 55.86m (183ft) from the ground on the lower side and 56.7m (186ft) on the higher side, making the top 3.9 metres (13ft) from the vertical. There are 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase. The thickness of the walls at the base is 4.1m (13.5ft) and at the top 2.5m (8ft). The tower’s weight is estimated at 14,500 metric tonnes.
By the 14th century, Pisa’s harbour had silted over, and the city, like much of Tuscany, had fallen under the hegemony of the Florentines. Over the centuries, Pisa’s most notable achievements have been intellectual – it is the seat of a university, home to Galileo and, in more recent times, the physicist Enrico Fermi. Thousands of tourists flock here, however, to see one famous landmark – the Leaning Tower, which is located, together with the Baptistery and the Duomo, on one of the loveliest squares in the world, the wide grassy expanse of the Campo dei Miracoli.
Thanks to its unstable subsoil, the Leaning Tower (Camp-anile; daily, Apr–Sept 8.30am–8pm, Oct 9am–7pm, Nov, Feb and Mar 10am–5pm, Dec and Jan 10am–4.30pm; charge) has always tilted. Begun in 1173, it began to lean when only three of its eight storeys had been completed. The overhang increased over time, and by the late 20th century it was 4.4m (15ft) out of alignment. Fearing an imminent collapse, the authorities closed the tower in 1990 while engineers sought a remedy. It was finally decided that soil should be extracted from the foundations on the opposite side to the lean, and by 2001 the top of the tower had been brought back 45cm. The tower is open to the public once more, with 30 people allowed up the 294 steps at a time (guided tours every 30 minutes; book in advance to avoid disappointment: www.opapisa.it).
The 12th-century tower isn’t the only crooked building on the square; its contemporary, the Baptistery (daily, Apr–Sept 8am–8pm, Mar and Oct 9am–6pm, Nov–Feb 10am–5pm; charge), tilts slightly to the north. The largest in Italy, the Baptistery’s lower parts are Romanesque, while the upper levels were decorated in Gothic style by sculptors Nicola and Giovanni Pisano; the originals are now in the Museo dell’Opera del Duomo. The interior is strikingly bare, with fine acoustics.
The Duomo (daily, Apr–Sept 10am–8pm, Mar and Oct 10am–6pm, Nov–Feb 10am–12.45pm, 2–5pm; charge), started in the 11th century, is a lovely example of Pisan Romanesque, with its colonnaded exterior subtly patterned in grey and white stone. The Portale di San Ranieri, an original bronze doorway, is still in place. Cast by Bonnano Pisano in the 12th century, it shows scenes from the life of Christ. The interior, remodelled after a 16th-century fire, is mostly Renaissance. A fine pulpit by Giovanni Pisano survived the fire, however, and the figures on its densely carved surface seem to be rising freely from the base. Note the bronze chandelier near the pulpit – legend has it that Galileo devised his laws regarding the movement of pendulums while watching it (or a predecessor) swing during mass one morning.
The 13th-century cemetery, the Camposanto (same hours as the Baptistery; charge) at the north end of the Campo dei Miracoli, was built to hold the soil a local archbishop carried back from Golgotha, so that Pisans might be buried in holy earth. It has an unearthly beauty today, constructed in the shape of a huge cloister, with tombs of many styles and ages lining its arcades.
The Museo dell’Opera del Duomo (daily, Apr–Sept 8am–8pm, Mar and Oct 9am–6pm, Nov–Feb 10am–5pm; charge), also on the Piazza, contains many statues and other works from the Duomo and Baptistery.
The Versilia awaits visitors
Fotolia
The Versilia
The flat, pine-covered landscape along the Pisan coast has historically attracted the attention of scholars, poets, writers and artists. Today, the Versilia is a popular holiday spot for Italians and others, who spend the hot summer days near the sea in Viareggio, a town made famous by its grand carnevale celebration and lively boardwalk; or in the seaside retreats around the Lake of Massaciuccoli. (From Lucca take the A11 west; from Pisa take the SS1 north.)
Livorno
The busy port city of Livorno 9 [map], known to most English-speakers as Leghorn), 19km (12 miles) south of Pisa on the SS1 or A12, has an appealing, working-class aura and, for the sight-weary traveller, a refreshing lack of famous churches. It is chiefly known for two things: the sculptor and painter Amadeo Modigliani was born here in 1884; and the city’s seafood restaurants are among the best in Italy.
Originally a Roman port, Livorno reached prominence when Pisa’s harbour began to silt up. Under the Medici it became a free port, and a group of refugees including Jews, Greeks, Muslims and Roman Catholics from England took up residence here, making it one of the most cosmopolitan cities of the Renaissance. In World War II it was heavily bombed; since then, it has thrived on the container shipping trade. The original Medici port included a series of canals that have inspired some to call Livorno a little Venice. The best place to see the original plan is the Porto Mediceo on the water. The Duomo (daily 9am–noon, 5–7pm) in the Piazza Grande has a doorway designed by Inigo Jones, who based his plan for London’s Covent Garden on this square.
Tuscan archipelago
Elba is actually part of a group of seven islands that make up the Tuscan Archipelago. Others include Gilgio, the second-biggest and a popular spot for family holidays, which can be reached from Porto Santo Stefano, and tiny Capraia, which can be reached from Livorno.
Elba
It’s impossible, when in Tuscany, not to think of the best-known Napoleonic palindrome in the English language – able was I ere I saw Elba – and it’s equally difficult to resist the place itself. One of Italy’s largest islands, Elba ) [map], which can be reached by ferry from Piombino, has fine beaches, clear water for swimming and mountains ideal for hiking.
The chief town, Portoferraio, has a charming old section fortified under the Medici; enter it through the Porta al Mare. In the upper section is Palazzina dei Mulini (Mon, Wed–Sat 9am–7pm, Sun 9am–1pm; charge), where Napoleon lived during his nine-month exile here. Together with his second home, Villa San Martino, a short drive south of Portoferraio, it is now a National Museum.
A good network of roads traverses the island, and while most spots are served by local buses, mopeds are available for rent and probably provide the best means of exploring. While there are fine beaches everywhere, some of the best are on the south coast, especially at Marina di Campo. In the eastern part of the island, Rio nell’Elba is the former mining centre; there’s a museum of mining at its port, Rio Marina, with a display of local minerals. The town of Poggio, in the west, is in a lush area and serves as a starting point for some lovely hikes.
Porto Ercole on the Maremma coast
Steve MacDonald/Apa Publications
South of Livorno, the Parco Naturale della Maremma ! [map] area, once a mosquito- infested swampland but now transformed, has over 100km (60 miles) of coastline, as well as Etruscan sites, medieval villages, hills, valleys and woods. Many of the beaches are in colourful resorts where you pay for entrance and a deck-chair. The marshy inland area has become one of Tuscany’s hottest spots for wine, and little towns like Bolgheri produce some of Italy’s priciest bottles. The area also has mountain villages and mining towns like Sassetta and Campiglia Marittima, which offer an insight into the less touristy areas of Tuscany.
Siena and Around
Siena
Just as Florence is the city of the Renaissance, Siena @ [map] belongs to the Middle Ages. Where Florence’s greatest attractions are in its museums, Siena’s are in its squares and streets, perched on three hills that provide views from many vantage points. To see both Florence and Siena is to appreciate each even more, and no visit to Tuscany should omit either.
Siena’s Il Campo
Steve MacDonald/Apa Publications
Siena was founded by the Etruscans and colonised by the Romans. During its heyday in the 13th and 14th centuries, it was a flourishing centre of trade, banking and art. In May 1348, however, the Black Death reached Siena, severely reducing the population and dealing a blow from which the municipality would never quite recover. Before the epidemic hit, Siena had some 100,000 citizens, but once the disease had run its course only about 30,000 remained. Regional wars and intrigue followed, until a siege by the Medicis in the 16th century devastated the city, reducing it to an insignificant part of the Florentine Empire. Those events have, in a sense, frozen Siena in time, and the city remains very much as it was in the 14th century.
City connections
Siena is well connected to Florence by the SITA Rapida bus (www.mobilita.it), which runs about once an hour Monday–Friday, once every two hours on Saturday and less frequently on Sunday.
Il Campo
The heart of the city, the Piazza del Campo A [map], known as Il Campo, is situated at the intersection of the three ridges upon which Siena sprawls. Laid out in the mid-14th century, the nine paved divisions of the fan-shaped piazza represent the Council of Nine, which governed the medieval city. The Palazzo Pubblico B [map], Siena’s town hall since 1310, stands on the east side – a fine example of Gothic architecture, topped by the graceful Torre del Mangia (Mar-mid–Oct 10am–7pm, mid-Oct–Nov 10–4; charge). If you can manage the 500 or so steps to the top, the tower provides a stunning view of the city.
In the town hall is Siena’s Museo Civico (daily mid-Mar–Oct 10am–7pm, Nov–mid-Mar 10am–6 or 6.30pm; charge), set in a series of formal state rooms on the upper floors. The Sala del Mappamondo contains some wonderful frescoes by Simone Martini. Note especially his Maestà, a beautifully coloured, richly decorative depiction of the Virgin Enthroned that is his first known work, painted when he was 30 years old. In the Sala dei Nove is Ambrogio Lorenzetti’s Allegory of Good and Bad Government, one of the most important secular works of medieval Europe. The city shown is Siena, quite recognisable even today, and in the artist’s allegorical scheme, good government, wearing the colours of a Sienese leader, is surrounded by the virtues, while bad government, ruled by fear, is surrounded by representations of the vices.
The Palio
On 2 July and 16 August each year, Siena is cheerfully and noisily disturbed by the Palio, a more or less free-for-all horse race around the Campo. The Palio has its roots in the old divisions of the city, whereby Siena was divided into contrade, or neighbourhood wards, which served as small political units, each with its own governing body, social club and local parish. The number of contrade was fixed at 17 in 1675; of these, 10 can sponsor horses that run in the two annual Palio races. The theory of the race is based on chance – the contrade draw their horse and starting position by lot.
The race consists of three laps around the Campo on a sanded and well-padded course. The winner is the horse, mounted or not, that completes the circuit first. The single rule of the race is that jockeys may not interfere with each other’s reins. Needless to say, mayhem ensues.
As this race stirs enormous passions, seats are impossible to come by unless you book well in advance. Your best bet is to appear in the square well before starting time and mark out your spot.
The Duomo and Art Gallery
Siena’s Duomo C [map], a few minutes’ walk south of Il Campo, is, in a sense, another victim of the Black Death. While it was initially completed in 1215, a new nave was started in the 14th century but was abandoned when the plague struck. It still stands, unfinished. The original structure, however, is lovely. The facade, designed by Giovanni Pisano, is boldly patterned in black and white marble, and this pattern is repeated in the interior’s pavement, which also contains dozens of inlaid panels created by local artists. The pulpit in the left aisle, the work of Nicola Pisano, is carved with panels depicting the life of Christ; supporting columns rest on stone lions.
The facade of Siena’s Duomo
Britta Jaschinski/Apa Publications
The Museo dell’Opera Metropolitana (daily, Mar–Oct 10.30am–7pm, Nov–Feb until 5.30pm; charge; www.operaduomo.siena.org), housed in the cathedral’s unfinished nave, contains most of the original facade statuary, as well as a magnificent altarpiece by Duccio. Painted in the early 14th century, it is a majestic example of late medieval art, and the central figure of the Virgin is a study in serenity. The Treasury Room upstairs contains a gilded silver reliquary; a staircase leads to a walkway that provides a wonderful view.
Across from the Duomo is Santa Maria della Scala D [map] (mid-Oct-mid-Mar 10.30am-4.30pm, rest of year until 6.30pm; charge; www.santamariadellascala.com), one of the oldest hospitals in Europe. Today it is a huge museum and exhibition complex displaying important artwork. Transferred from its original home on Via della Sapienza, the Museo Archeologico’s collection is displayed here along impressive tuff tunnels.
Just a bit further south is Siena’s art gallery, the Pinacoteca Nazionale E [map] (Tue–Sat 10am–6pm Mon and Sun 9am–1pm; charge), housed in a 14th-century palace. The works on display range from the 12th century to the Renaissance. Note especially Guido da Siena’s Scenes from the Life of Christ, one of the first known paintings on canvas; Simone Martini’s Madonna and Child; and Beccafumi’s cartoons for the floor panels in the Duomo.
Val d’Elsa
A number of surprisingly pastoral hill towns are perched to the north and west of Siena in the Val d’Elsa region. They are an easy and scenic drive from the city, and the public bus service from Siena will also take you there. As you travel through the area, you may well be overcome by the feeling that you’ve experienced this landscape before. You have, in a sense, because the rolling hills – a reddish-brown colour (known appropriately as burned siena) in places where the soil has been tilled, forested in part with cypress and pine, and often crowned by medieval cities – form the background of many Renaissance paintings.
The best way to explore these towns is to immerse yourself in the Tuscan countryside by making the scenic drive from Florence through Chianti country on route SR222 to Siena (for more information, then approaching them from that lovely city. If, however, you are making the trip directly from Florence, you can bypass Siena by taking the speedy RA3 south to Monteriggioni, a trip of 55km (33 miles), and begin your explorations there.
Monteriggioni £ [map], 15km (9 miles) northwest of Siena on the RA3, once provided the Sienese with a lookout point for Florentine troops, and its 14 towers and fortified walls still stand, perhaps the best-preserved in Italy. They protect a tiny town within that is not much larger than a football pitch. Construction on this bastion started in the early 13th century and, girded by stone as it is, the village hasn’t grown much since. Dante likened the towers to a circle of Titans guarding the lowest level of hell and his verse, from the Inferno, faces you as you enter Monteriggioni. There are some houses and a few restaurants inside the walls, but not much to do except soak up the charm of the place.
The towers and fortified walls of Monteriggioni
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Colle di Val d’Elsa, about 10km (6 miles) further along the RA3 and the SR68 (simply follow the road signs, which often do not indicate route numbers), must be approached from the correct angle. The lower town, which you will see first if you enter from the east, consists of unlovely housing tracts and factories. Enter instead from the west, and you will pass under a 16th-century gate into the Old Town.
Via del Castello, the main street, stretches along a ridge, and is lined with medieval houses. Arnolfo di Cambio, architect of Florence’s Duomo, was born at No. 63. The street leads on to the Piazza del Duomo and the Cathedral. Originally a Romanesque structure, the Cathedral was rebuilt in the 17th and 18th centuries. Inside, however, is a fine marble 15th-century pulpit, a lovely Nativity by Rutilio Manetti and, commanding pride of place, the Cappella del Santo Chiodo, which contains a nail said to come from the True Cross. Just off the piazza is the 16th-century Palazzo Campana, a Mannerist-style mansion.
San Gimignano
Around 11km (7 miles) north of Colle di Val d’Elsa, San Gimignano $ [map] presents a stunning skyline, with its tall, beautifully preserved medieval towers. Inside the walls, the town’s lovely streets and churches, its medieval and rural atmosphere, and its fine collections of art have made it a popular destination for tourists – too popular, perhaps, because in season it fills up with day-trippers, and its chief industry seems to be the selling of postcards. But out of season, or in the evenings when many visitors have departed, the town provides everything its other-worldly beauty promises.
Medieval San Gimignano
Anna Mockford & nick Bonetti/Apa publications
Founded by the Etruscans, San Gimignano was named in the 5th century to honour a bishop of Modena who reputedly saved the village from Attila the Hun. It prospered during the Middle Ages, then was struck hard by the Black Death, and entered the modern era as a desperately poor backwater. Tourism has changed all that, and the town now prospers because of its beauty and a fine local white wine called Vernaccia.
At its heart is the Piazza del Duomo and the Collegiata Church (Apr–Oct Mon–Fri 9.30am–7pm, Sat 9.30am–5pm, Sun 12.30–5pm, Nov–Jan and Mar Mon–Sat 9.30am–4.30pm, Sun 12.30–4.30pm; charge), the town’s largest church. The foundations of the church were laid in the 11th century; much of what you see now was constructed in the 15th. The interior is grandly decorated with frescoes. Note especially the New Testament scenes on the right-hand wall painted by Lippo Memmi in the 14th century. The Cappella di Santa Fina, off the right aisle, was built in the 15th century by Giuliano de Maiano. The frescoes, by Domenico Ghirlandaio, depict the life of Santa Fina, a local girl who attained sainthood status for her piety. The Torre Grossa, also on the piazza, is the tallest of the town’s towers at 54m (175ft). It dates from the early 14th century, and provides an extraordinary view of the surrounding Tuscan countryside. The adjacent Piazza della Cisterna is ringed by cafés, restaurants and gelaterie.
Palazzo dei Priori, Volterra
Steve MacDonald/Apa Publications
Volterra
Some 37km (23 miles) west on a lovely drive through undulating farm country interspersed now and then with vineyards, orchards, and little copses (from San Gimignano, drop south to route SR68) is Volterra % [map], a lofty town stretched along a high ridge and home to a wonderful collection of Etruscan art. The ancient city, in the centre of a rich mining region, was much larger than what remains today. Settled first by the Etruscans, then, centuries later, taken by the Florentines in a bloody siege, it is now a quiet and somewhat mysterious place.
The heart of Volterra is the Piazza dei Priori, which is almost entirely surrounded by medieval buildings. The 13th-century Palazzo deiPriori probably served as the model for Florence’s Palazzo Vecchio, and its tower provides an excellent view. The Palazzo Vescovile (Bishop’s Palace), also on the piazza, houses a small museum containing a bust of St Linus by Andrea della Robbia. The 12th-century Duomo is just off the square; it has a wonderful ceiling, carved and decorated with gold and azure. Note also the Crucifixion, a fine example of Baroque work, painted by Francesco Curradi in 1611. The Pinacoteca e Museo Civico (daily, mid-Mar–Oct 9am–7pm, Nov–mid-Mar 8.30am–1.45pm; charge), also off the piazza, has some fine pieces by local artists, notably Rosso Fiorentino’s Descent from the Cross.
The real reason most people come to Volterra is to see what the Etruscans left. The Museo Etrusco Guarnacci, on Via Don Minzoni, houses a large collection of Etruscan artefacts, most found in the area (daily, mid-Mar–Oct 9am–7pm, Nov–mid-Mar 8.30am–1.45pm; charge). Most notable are its funerary urns, a few of which date from the 9th century BC. The urns, in the form of rectangular boxes, are carved with striking depictions of the deceased; many show touching farewells, and together the 600 or so urns provide a fascinating picture of Etruscan beliefs about death and, by extension, life. Note especially the Gli Sposi (the Married Couple), a 1st-century BC urn decorated with the faces of an elderly couple, as penetrating and passionate-looking now as they must have been in life, some 2,000 years ago. The museum also contains some bronzes; note especially the Ombra della Sera (the Shadow of the Night), a delicate and elongated nude.
The Balze, as Volterra’s eroded cliffs are called, are a short walk northwest of the piazza along Via di San Lino. Here time and the weather are eating away the edge of the city, and the walls are literally dropping into chasms. Ancient alabaster mines gouge into the cliffs; below them are huge buried tracts of the original Etruscan settlement.
Monte Oliveto Maggiore
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Southern Tuscany
Southern Tuscany summons up superlatives like enchanting, bucolic, magical – and this is no exaggerated praise. If, in your mind, you can superimpose these words on a landscape shaped by vineyards, solitary farmhouses and medieval castles, you’ll have a good idea of what awaits you. This region is best explored by car, which gives you the freedom to appreciate the marvellous rural vistas.
Monte Oliveto Maggiore
The area just south of Siena is a primeval landscape of stark beauty. Appropriately called Le Crete, it is a moonscape of interlocking pale-clay hummocks, stands of cypress trees and barren gullies, rich in wildlife and loved by Sienese city dwellers. Monte Oliveto Maggiore ^ [map] (daily 9.15am–noon, 3.15–5pm; www.monteolivetomaggiore.it), around 30km (20 miles) south of Siena, is set here (follow the SR2 towards the town of Buonconvento, and from there the SS451 to Monte Oliveto). The monastery, reached through a gate-house adorned with terracottas by the 15th-century Florentine sculptor Luca della Robbia, was founded around 1200 by a Sienese man who, after going blind, took the name Bernardo and came here with two companions to live a solitary life. He attracted followers, and the group was soon recognised by the Church as the Olivetans – otherwise known as the white Benedictines. Over the next few centuries, the monastery became one of the most eminent in Italy, home to a remarkable series of frescoes showing the life of St Benedict. Started by Luca Signorelli in the late 15th century and finished by Il Sodoma in the 16th, they are in the great cloister of the monastery, and well worth a careful perusal.
Montalcino’s 14thcentury fortress
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Montalcino
Montalcino, just off the SR2 further south, is set on a hill under the silhouette of a perfectly preserved castle, and from a distance this walled town presents a magical sight. Its fortunes have swung wildly throughout history. An ally of Siena (which is just 53km/32 miles to the north), it became the last bastion of the republic in 1555, when for four years a small group of Sienese exiles fought off the Florentines. Succeeding centuries saw the decline of the town into a malaria infested backwater. In the past few decades, however, its fortunes have rebounded, fuelled primarily by the local Brunello wine.
Pecorino
Pienza is also well known for its delicious Pecorino cheese. Tiny alimentari, or speciality food shops, carry the various types, and many offer cheese-tastings in their stores.
The 14th-century Sienese fortress is less martial these days: inside its walls are a public park, several wine shops and nice restaurants, and its ramparts provide wonderful views. Just down the Via Ricasoli, within the ancient rooms of Sant Agostino’s monastery, is the Musei di Montalcino (Tue-Sun 10am–1pm, 2–5.40pm; charge), one of the most important collects of archeological, medieval and modern art in the district of Siena. The collection offers an almost complete view of this important Tuscan town’s artistic production. The town also has a handful of churches, all of roughly equal interest.
Montalcino has made wine for centuries, but Brunello, developed in the late 19th century, is a relatively recent addition to its output. It has become one of Italy’s premier reds, and has turned Montalcino from nearly the poorest to one of the richest towns in Tuscany. Some of the surrounding vineyards – among them Poggio Antico, Banfi and Fattoria dei Barbi – welcome visitors.
Pienza
Pienza & [map], 20km (12 miles) to the east on the SS146, has one of the oddest pedigrees of any town in Italy. It happened to be the birthplace of 15th-century Pope Pius II, who, upon achieving his eminence, decided to turn the sleepy little village into an ideal Renaissance city. With the help of architect Bernardo Rossellino, he commissioned the construction of a central piazza, cathedral, papal palace and town hall. Unfortunately, Pius ran out of money, so the planned city never grew beyond the central square and its surrounding buildings. They remain, however, as an intact and grand example of planned Renaissance architecture, and nothing else like them exists in Italy.
The Piazza Pio II, the central square, is more ideal than real, almost a stage set (it was used as one in Zeffirelli’s film Romeo and Juliet). The flanking Duomo (daily) has a Renaissance facade crowned with the Pope’s coat of arms. The interior is Gothic in style; note the five altarpieces painted by artists from Siena, on the theme of the Madonna and Child and the Assumption. The tall windows allow in a flood of light. The Palazzo Piccolomini (Tue–Sun), the finest palace on the square, was designed to provide a view, which you can appreciate from the first-floor papal apartments.
Montepulciano
The highest of the hill towns, Montepulciano * [map] is set on a ridge, another 24km (15 miles) to the east of Pienza on the SS146, or 125km (75 miles) south of Florence on the A1 auto-strada. If you are coming from Cortona, it is a trip of about 35km (21 miles) west across the Valdichiana.
Montepulciano is largely Renaissance in character, and much of what stands today was built by architects from Florence after 1511, when the city joined the Florentine Empire. Its centre is the Piazza Grande, placed on the town’s highest spot. The Palazzo Comunale, on the piazza, is a 14th-century version of Florence’s Palazzo Vecchio; its tower (Apr–Oct Mon–Sat 10am–6pm; charge) provides a marvellous view as far as Siena. The 17th-century Duomo (daily 9am–noon, 4–6pm), also on the square, has no facade to speak of because the city ran out of money. Its interior is surprisingly elegant, however, and contains two sights of interest. The monumental tomb for papal secretary Bartolomeo Aragazzi, carved in the 15th century by Michelozzo, was taken apart in the 18th century, and pieces are now scattered throughout the church; note the reclining Aragazzi to the right of the central door. And on the high altar is a 15th-century gold triptych by Taddeo di Bartoldo showing the Assumption of the Virgin; it is considered his masterpiece.
Montepulciano is famous for its wine, the Vino Nobile
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Another church worth a visit is the 16th-century Tempio di San Biagio, designed by Antonio da Sangallo the Elder. Set outside the city walls on the Via San Biagio, it is built of soft travertine and its position allows it to be seen from every side.
Of course, Montepulciano is also known for its wine, the Vino Nobile. Wine has been made here since the 8th century, and the town’s shops offer the local variety, along with cheeses and meats to complement it. Some have cellars set in ancient underground tunnels; if they do, ask for a tour.
Tufa Towns
Sorano, Sovana and Pitigliano are three ancient towns carved into the volcanic rock, or tufa, around 60km (40 miles) south of Montepulciano. (They can be reached by driving south on the A1 and then cutting back west.) Their unique placement above dramatic cliffs of soft, porous tufa covered in a jungle of fern, ivy and evergreen trees make them a curious spectacle and a pleasant day trip.
Arezzo and Eastern Tuscany
The landscape of the province of Arezzo is rugged, with steep, thickly wooded valleys that shield its towns and villages from view. To the east of Arezzo are two important towns for Piero della Francesca enthusiasts – Monterchi and Sansepolcro. To the south are the prosperous farms of the fertile Valdichiana, over which the enchanting hill town of Cortona is perched.
Arezzo’s Piazza Grande
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Arezzo
The A1 autostrada connects Florence and Arezzo ( [map], 85km (51 miles) apart, as does the slower but more scenic Strada dei Sette Ponti, so called because the road crosses seven bridges as it winds its way through olive groves and ancient towns.
Arezzo’s old centre, girded by well-planned and attractive modern districts, bespeaks the great artistic talent that has flourished here. The Piazza Grande is arcaded on one side by a loggia designed by Giorgio Vasari, the 16th-century architect who, enchanting as this assemblage is, will forever be remembered for his accounts of masters more talented than he was, his Lives of the Artists – in effect, the first work of art history. Behind the unprepossessing brick facade of the 14th-century church of San Francesco (Mon–Fri 9am–6.30pm, Sat 9am–5.30pm, Sun 1–5.30pm; www.pierodellafrancesca.it), just south of the piazza, is a genuinely sublime series of frescoes by Piero della Francesca on the Legend of the True Cross. Painted in the 1450s, they show all his skills at perspective and conveying emotion in a restrained way, as well as his feeling for narrative drama.
A few blocks away, on Corso Italia, is Pieve di Santa Maria, a 12th-century Romanesque church. Built in cream-coloured stone, its layered arcades narrow as they rise, giving an impression of height; the bell tower ‘of the hundred holes’ was added later. Above the crypt is a 14th-century polyptych of the Madonna and Child by Pietro Lorenzetti.
Monterchi and Sansepolcro
If the San Francesco frescoes have given you a taste for Piero della Francesca’s work, you could do no better than to venture northeast to Monterchi and Sansepolcro.
The small village of Monterchi, just 25km (16 miles) from Arezzo on the SS73, is home to his Madonna del Parto, a por-trait of the pregnant Madonna, an image rarely seen in Italian art. Originally painted for the local chapel, this solemn yet delicate fresco is now on show at the Museo Madonna del Prato (daily Nov–Mar 9am–1pm, 2–5pm, Apr–Oct until 7pm; charge) in a former primary school on Via Reglia; it is a pilgrimage site for both art-lovers and pregnant women, who come here to pray for an easy birth.
Sansepolcro, another 10km (6 miles) along, was della Francesca’s birthplace. It’s a quiet town whose main attractions are his Madonna della Misericordia and Resurrection, in the Museo Civico (daily 9.30am–1pm, 2.30–6pm; www.museocivicosansepolcro.it). The Madonna, painted around 1440, is the artist’s earliest known work; one of the kneeling figures around the Virgin may be a self-portrait. The Resurrection of Christ, painted in 1463, is a powerful yet spiritual painting of a muscular Christ emerging from the tomb.
Heavy defeat
Lake Trasimene might be peaceful now, but in 217BC its waters ran red with the blood of Roman legions, more than 16,000 of whom were slaughtered by Hannibal’s troops in one of Rome’s worst defeats.
Lake Trasimene beneath a stormy sky
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Cortona and Lago di Trasimeno
If you travel south of Arezzo for just 30km (18 miles) on the SR71, a busy local road that serves many farming communities and at points is overlooked by little hillside towns and castles, you will come to what is often and justifiably called Tuscany’s most beautiful hill town: Cortona , [map].
The Etruscans were among the first to appreciate the lofty heights upon which Cortona is built, and much of what they left behind, including a bronze lamp, is housed in the town’s small Museo dell’Accademia Etrusca (Apr–Oct daily 10am–7pm, Nov–Mar Tue–Sun until 5pm; charge; www.cortonamaec.org). What is most striking about Cortona, though, belongs to a much later period, and that is its unspoiled medieval architecture. The town is untouched by modern development and unfolds in a series of theatrical piazzas; at its heart, the Piazza Garibaldi opens into the Piazza Signorelli. The town’s other treasures also emerged from the medieval centuries – frescoes and panels by Fra Angelico in the Museo Diocesano, across from the Duomo.
Perugia, capital of Umbria
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One side of Cortona’s public gardens opens to a belvedere with sweeping views. Looking south into Umbria you will see a body of water glistening in the distance. This is Lago di Trasimeno, Italy’s fourth-largest lake. Its shallow waters are very clean and, in summer, full of swimmers, boaters and windsurfers.
Into Umbria
Umbria is a verdant and peaceful region. Its fields and forests roll gently across the central Italian landscape, and when viewed from the belvederes of the proud medieval hill towns the land seems to be divided tidily into countless little plots. Perugia is a convenient transit hub for the rest of Umbria, and notable sites surround it like the spokes of a wagon wheel.
Perugia
Perugia ⁄ [map] the capital city of this primarily rural region, is a stylish, dynamic place where chocolates and pasta are made and a modern urban atmosphere predominates. Its medieval centre, however, is worth a visit, and its art museum is among the best in the country. Perugia is 155km (94 miles) southwest of Florence via the A1 autostrada and RA6.
Perugino
Perugino (1445–1523) is perhaps the greatest of the Umbrian painters. You’ll see the best of his work in the city of Perugia, for which he was named. This Umbrian master also spent time working in Florence and Rome, key cities of the Italian Renaissance. His trademark limpid skies and ethereal landscapes, expressive of spirituality, can also be found in the paintings of his pupil, Raphael. To see Perugino paintings, you will want to stop at the Galleria Nazionale and the Collegio di Cambio (both in the Palazzo di Priori) in Perugia and the Accademia, the Galleria Palatina and the Uffizi in Florence.
The main street, the Corso Vannucci, bisects the city and is a superb place to watch the Perugians go about their business. On this street is the Palazzo dei Priori, an enormous town hall. Built between the 13th and 14th centuries from local travertine stone, the Palazzo presents an imposing facade, with its Gothic doorway and many rows of windows. On the upper floors is the Galleria Nazionale (Tue–Sun 8.30am–7.30pm; charge; www.gallerianazionaleumbria.it), which contains a superb collection of Umbrian art. The 30-odd rooms offer a fascinating chronology of the origins and development of the region’s art. A few works are especially noteworthy. Duccio’s Madonna and Child has a quiet beauty. The triptych Madonna and Child with Angels and Saints, by Fra Angelico, is boldly coloured in blue. Piero della Francesca’s polyptych of Saint Anthony has a remarkably delicate Annunciation scene at the top of the main painting. And a group of altarpieces by Perugino shows the development of his style; note especially his Pietà, painted around 1475. At ground level is the Palazzo is the Collegio del Cambio, a well-preserved Renaissance guildhall with frescoes by Perugino at the height of his glory.
The Palazzo fronts on the Piazza IV Novembre. The Romans built a reservoir here; later, medieval citizens filled it in to create an open space that became the hub of the city. A lovely centrepiece is the 13th-century Fontana Maggiore. Designed by Fra Bevignate and built by Nicola and Giovanni Pisano, it collected water from an aqueduct for the townspeople’s use. Sculpture depicting the city’s history surrounds its base; note the lion and the griffin, symbols of Perugia.
Gubbio’s Palazzo dei Consoli
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The Duomo (daily 8am–12.30pm, 4–6pm), also on the piazza, has a rather plain facade and a surprisingly characterless interior. Although, displayed with great fanfare in the Cappella del Sant’Agnello, is one of the Duomo’s most valued treasures – a ring that is allegedly the Virgin’s wedding band.
Gubbio
Medieval Gubbio ¤ [map], 39km (24 miles) northeast of Perugia on the SR298, is a bit remote, but well worth a visit. It is so well preserved that it has earned the nickname ‘the Umbrian Siena’. But its location is what sets it apart: the Apennines tower behind it, a wild gorge courses through it and a bare plain stretches in front. The central square, the Piazza Quaranta Martiri, is named in honour of the victims of a Nazi reprisal for partisan activities. On the piazza, the Gothic church of San Francesco contains a fine series of frescoes depicting the life of the Virgin Mary. St Francis is supposed to have slept in the sacristy chapel during a visit here.
Inspiring and spiritual Assisi
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East of here along the Via della Repubblica is the Palazzo dei Consoli (daily, Apr–Oct 10am–1pm, 3–6pm, Nov–Mar 10am–1pm, 2–5pm; charge), a stone palace with battlements and a towering campanile that stands on the Piazza Grande and provides a wide view of the town and plain below. An archaeological museum inside contains a good collection of Roman artefacts, and the Eugubian Tablets, bronze tablets inscribed in the ancient Umbrian language.
But it would be a shame to spend too much time indoors in Gubbio. From the palace, you might wish to wander further east, to the Duomo (daily 7.15am–6pm) – step inside to admire its unusual interior vaulting, and then on to the adjacent Palazzo-Ducale (Tue–Sun 8.30am–7.30pm; charge), whose recently restored rooms have a calm Renaissance air. A street behind the palace leads up to Monte Ingino, which is topped by the Basilica di Sant Ubaldo and provides a fabulous view after a steep climb.
Assisi
The birthplace of St Francis, (27km/17 miles east of Perugia on the SS75), Assisi ‹ [map] is one of the holiest and most popular pilgrimage sites in Italy. Don’t be put off by its popularity: this tiered village, on the flanks of Monte Subasio above valleys of olive groves, has a visual and spiritual elegance that has survived the onslaught of postcard stands.
Statue of St Francis
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St Francis was born in the 12th century and was later given permission by the Pope to create a new monastic order. Shortly after his death in 1226 work began on the Basilica di San Francesco, a monumental building on the eastern edge of Assisi, containing some of the masterworks of Italian art. The following are a few highlights:
In the lower church (daily 6am–6.45pm) are Simone Martini’s frescoes in the Cappella di San Martino; painted in the early 14th century, those in the outer chapel depict several saints, while those in the inner chapel trace the life of St Martin of Tours. They display the artist’s skill at recreating richly patterned fabrics. Stairs halfway along the nave lead down to the crypt where St Francis’s plain coffin rests. The Cappella della Maddalena, the last chapel on the right, is decorated with frescoes by Giotto depicting the life of Mary Magdalene. Finally, note Cimabue’s well-known portrait of St Francis in the right transept.
The upper church (daily 8.30am–5.45pm) is bright and spacious. Pride of place is given to Giotto’s frescoes illustrating the life of St Francis. The 28 panels were probably completed at the end of the 13th century. Giotto was a member of St Francis’s lay registry, and his paintings reveal enormous sympathy for this humble man. Note also the dramatic Crucifixion by Cimabue in the transept. In 1997 several earthquakes shook the church, causing the collapse of part of the ceiling. Thanks to the hard work of many dedicated restorers and some computer wizardry, the majority of the damaged frescoes have been restored.
Outside the church again, head east towards the Piazza del Comune. This was most likely the site of the Roman forum, and six Corinthian columns from the 1st-century BC Roman Temple of Minerva still stand here, incorporated into a rather humdrum church.
There is much more to see in Assisi, but two more sights deserve special mention. The Rocca Maggiore (daily, Nov–Feb 10am–4.30pm, Mar 10am–5.30pm, Apr–Oct 9am–7pm; charge) is set high above the city at the end of a maze of medieval lanes, north of the Piazza del Comune. The castle was probably erected on old defensive walls built by Charlemagne; what stands here today dates from the 14th century. And 4km (2.5 miles) outside the city walls, through the Portao Cappuccine, is Eremo delle Carceri, the hermitage where St Francis meditated and prayed. It is still inhabited by Franciscan monks, who provide tours of the saint’s bed of rocks and the ancient tree under which he preached sermons to the birds.
Todi and Spoleto
Around 47km (29 miles) south of Perugia down the SS3bis (E45), the marvellous hill town of Todi › [map] is worth a stop. Todi’s central Piazza del Popolo has been lauded as the most perfect medieval square in Italy. Spacious, flanked by the Duomo and three 13th-century palaces, it has a visual unity and appeal that makes it unique.
Across the valley, east of Todi, is Spoleto fi [map], another Umbrian gem, set on terraces on the flank of a hill. This prosperous little town has a fine Roman amphitheatre, some lovely churches and a renowned annual festival. The Festival dei Due Mondi, started by composer Giancarlo Menotti in 1958, runs for two weeks late June to early July (www.festivaldispeleto.com), and draws a myriad of internationally known dance, music and theatre groups, plus some avant-garde companies. The festivities have spilled over into preceding months, when classical music is featured, and succeeding months, when opera takes over. Tickets and accommodation should be booked well in advance.
The beguiling medieval city of Todi
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Spoleto provides other pleasures as well. On the edge of the lower town, San Salvatore (daily, Nov–Feb 7am–5pm, Mar–Oct 7am–6pm), dating from the 4th century, is one of the oldest churches in Italy, somewhat musty, but highly atmospheric, with its Corinthian columns, bare walls and stone floors. Also in the lower town are the remains of a Roman amphitheatre. The Romans built special gutters to accommodate the flow of blood from their festivities.
The dazzling facade of Orvieto’s Duomo
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In the upper town, the 12th-century Duomo (daily, Nov–Mar 8.30am–12.30pm, 3.30–6pm, Apr–Oct until 7pm), on the Piazza del Duomo, has an unusual mosaic facade, built in the early 13th century by Solsternus. Inside is a fresco cycle on the life of the Virgin by Filippo Lippi. This was his last work; he died in 1469, just before finishing it. Note especially the beautifully coloured Coronation of the Virgin, and the central panel, the Dormition of Mary, in which Filippo has painted himself wearing a black tunic and a white robe. Just east of the Duomo, take the Via del Ponte around the fortress to the Ponte delle Torri. This 13th-century engineering marvel stretches 230m (760ft) across a valley, supported by nine stone pillars.
Orvieto
A nice way to approach Orvieto fl [map] some 86km (54 miles) southwest of Perugia, is via a very pretty road, the SS448, which cuts west from Todi and winds around Lago di Corbara. The A1 autostrada between Florence and Rome also zooms past the base of the city; Orvieto is 230km (130 miles) south of Florence.
While much of the volcanic rock in southern Umbria has been eroded by the Tiber and Paglia rivers, one spire remains unlevelled, and it is on this that Orvieto sits, towering over the valley floor more than 305m (1,000ft) below.
The city’s Duomo (daily, Nov–Feb 7.30am–12.45pm, 2.30–5.15pm, Mar and Oct until 6.15pm, Apr–mid-Sept until 7.15pm), set on the city’s highest point, is its most spectacular sight, perhaps the most spectacular in all of Umbria. Its cornerstone was laid in the 13th century to mark the Miracle of Bolsena, in which a Bavarian priest on a pilgrimage to Rome witnessed transubstantiation – he saw blood dripping from the host onto a cloth as he attended mass in a church on nearby Lago di Bolsena. The cloth was taken to Pope Urban IV, who was in Orvieto at the time, and he ordered the construction of a great church to commemorate the event.
The original architect was probably Arnolfo di Cambio, although work continued on the Duomo for some 300 years, and what stands today is an amalgam of some of the greatest talents of the period, including most notably Lorenzo Maitani. The facade consists of four huge pillars supporting a wild array of sculptures, spires and doorways. The pillars, designed by Maitani, depict detailed scenes from the Bible; note especially Cain killing Abel. Inside, head for the altar. To the right is the Cappella della Madonna di San Brizio, decorated with frescoes by Fra Angelico and Luca Signorelli. Fra Angelico completed two sections of the ceiling, showing Christ and the Prophets, in the 15th century and was then called away to Rome. Signorelli finished his work, then covered the walls with a remarkable series of frescoes. Note especially his Last Judgement, which provided inspiration for Michelangelo’s painting in the Sistine Chapel, and his Damned in Hell, a terrifying scene depicting what may await the worst among us.