The most beautiful religious buildings Toscane

A place with an atypical history! There was once an oratory dedicated to the Archangel Michael, built in the garden of a Benedictine monastery. Since then, there has been a portico that was enlarged and consolidated in 1337, as the current two-storey structure was built above it to store wheat in the event of famine. In 1380, because of the increasingly intense devotion to an image of the Madonna placed on a pilaster in the portico, the arcades on the ground floor were closed. The portico was thus transformed into an unusual church with two naves, which is now the worthy setting for a splendid marble tabernacle in Gothic style, the work of the Florentine sculptor Andrea Orcagna. This old church, transformed into a grain market and then again into a church, houses a beautiful, albeit somewhat dark, interior of medieval architecture.

Among the statues that adorn the exterior of the Orsanmichele church are those of Lorenzo Ghiberti in bronze, on the side of Arte della Lana Street, representing Saint Matthew, at the corner of Orsanmichele Street, and Santo Stefano. Those of Donatello - Saint George - and Verrocchio - a group with the Unbelief of Saint Thomas - towards Calzaioli Street have been replaced by copies (the originals being at the Bargello Museum). These statues were financed by the Florence merchant corporations, proof that the commercial activity was closely linked to religion and art. A few steps away, stands the imposing Palazzo Vecchio in Piazza della Signoria.

Built on the site of an ancient pilgrimage site of importance since the Trecento (i.e. the 14th century in Italy), and since then redesigned, the Basilica of St Mary of Impruneta was consecrated in 1060 by Cardinal Umberto di Selva Candida. Its high crenellated bell tower dates from the 13th century. The interior has a large single nave in Renaissance style, a typical polygonal apse, and includes works by Jacopo Chimenti (1554-1640), trained in Maso San Friano's workshop, and the famous Florentine sculptor Luca della Robbia (1400-1482).

The reputation of this sanctuary, one of the most famous Marian sanctuaries in Tuscany, is based on the cult of the image of the Virgin Mary. Indeed, in the chapel of the Virgin Mary is preserved the famous icon of the Madonna which attracted so many pilgrims during the 14th century, and which tradition assigns to Saint Luke the Evangelist. According to legend, when Christianity arrived, the image of the Virgin Mary was taken to Florence by Saint Romolo. Due to persecutions, he hid the image in pruinetis ("among the pines"), hence the name Impruneta.

The last major restoration of the building dates back to the 1950s. The church was seriously damaged during the Second World War.

Finally, the museum (museo del Tesoro) contains many precious objects (illuminated manuscripts, sacred clothing, gold and silver jewellery...) related to the rich history of this Basilica of Santa Maria.

This ancient abbey is worth a visit, both for its architecture and for its wine. Located at 600 m above sea level, on the line separating the Chianti from Valdarno, the abbey is dedicated to San Lorenzo di Coltibuono. It was built in 1049 by Firidolfi, according to a Latin cross plan. It is one of the happiest Romanesque achievement in Chianti.

The very good wine is on sale in the Tenuta di Coltibuono, near the abbey. For sale and tasting, the excellent local grappa. For the visit of the old cellars housed in the old cloister wing, call (0577) 74 94 98 or 74 93 00. All farm products (wine, grappa, honey, olives, holy wine) are also available for sale.

The construction of the Basilica of Our Lady of Humility began in 1495 to celebrate a miraculous event: while internal struggles raged in the city, some of the faithful saw tears on the fresco of the Virgin Mary nursing the Child Jesus (now preserved in the Rospigliosi Chapel). A huge church was then built, with a Renaissance dome (the third largest in Italy, after St. Peter's in Rome and Santa Maria del Fiore in Florence), on the very site of the miracle. The text of the time reports about the miraculous image as follows: "In the year of the Lord 1490, on Saturday, July 17, this image was seen pouring sweat, or liquor, from his Holy Head, which like clear water sprang clearly from its source, and from each part of the forehead miraculously irrigated his clothes. Because of this novelty, the church was attended with great devotion by some of them; once the miracle was seen, they began to ring the bells. "But the construction of the basilica took a long time, more than fifty years precisely, and was interrupted several times for financial reasons or because of internal vicissitudes, such as the fierce struggle between the Panciatichi and Cancellieri families who were fighting for political power. Today, the basilica is the most important Renaissance building in Pistoia, and its large dome is visible from all over the city.

The church is built on the oratory of the Order of the Servants of Mary, founded by seven young monks to whom Mary appeared in 1235. Then, as the ultimate renunciation of the world, they founded the monastery of Monte Senario in Fiesole. Michelozzo built the first cloister in the middle of the 15th century. The main body of the church, begun in 1440 by Michelozzo and Pagno Portigiani, was then modified by Alberti who created the powerful platform that can be seen on the right side. From the sober facade, decorated with the arms of Pope Leo X de Medici and the frescoes of the young Pontormo, you can access three different settings: on the right the chapel of the Puccio of San Sebastiano, on the left the vast cloister of the Dead decorated with frescoes by Andrea del Sarto, in the centre the first cloister (chiostrino dei Voti), decorated with frescos by the masters of Florentine mannerist painting from the early 16th century: Rosso Fiorentini, Pontormo, Franciabigio and Andrea del Sarto who, with the Birth of the Virgin, painted the most faithful portrait of his wife Lucrezia del Fede, unfortunately unfaithful according to Vasari.

The interior, designed by Alberti, but later covered with a sumptuous baroque decoration, consists of a nave covered with a large dome. The remarkable Baroque ceiling is by Giambelli according to a drawing by Volterrano (17th century). Many works of art are preserved in the side chapels: frescoes by Andrea del Castagno, an Assumption by Perugino, a Resurrection by Bronzino, sculptures by Giambologna and, in the transept, a marble Deposition by Baccio Bandinelli whose self-portrait can be seen in Nicodemo's face. On the left is a small marble temple designed by Michelozzo in honour of the fresco of the Annunciation, which is now venerated and displayed to the faithful every 25 March, the day of the Annunciation (Florentine New Year's Day for several centuries). According to legend, the anonymous artist of the 14th century who executed the Birth of the Virgin fell asleep after making the angel, but his sleep was disturbed by the fear of not being able to paint a Virgin of better quality than the angel already painted. When he woke up, he was surprised to find the fresco completed by a supernatural hand. The miraculous virtues attributed to painting by popular tradition since then have led young wives to go to the Annunziata church after their wedding to offer the Virgin of the small temple their bouquet of flowers.