Urban Trekking - Assessorato al Turismo e Commercio del Comune di Montalcino

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Urban Trekking

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We must appreciate walks for the views and for the landscapes that we can see between the alleys or in the down streets. The views aren't very extended but we can see someone in contrast to the roof of the houses, the chimneys and the little streets. While you are walking you must discover all the beautiful things you can see around: the monuments, the houses with the flowers out of the doors, some little tabernacles that we can see in these ways on the walls of the houses or the gardens... This is Montalcino.


THE CIRCUIT OF THE HISTORIC WALLS

                    Length :  4 Km
                    Time    : 2 hours
Level of Difficulty   : medium
Type of Route          : historic & panoramic

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THE CHURCHES OF MONTALCINO
AND THE STREETS OF SIEGE

Length : 2 Km
Time    : 2 hours
Level of Difficulty   : Easy
Type of Route : historic, artistic & panoramic

2 19 1 3  22 4 5 23 6 8 9 10 11 12 13 15 17 18

183 STEPS AND 10 SLOPES

Length : 1 Km
Time    : 2 hours
Level of Difficulty    :  medium
Type of Route : artistic & panoramic

10 8 9 4 20 18 21 12 13 19


CITY HALL n. 1
Established partially in the XIII century (1292 is written on the left bracket of the entrance door) and in the XIV century. The clock tower, featuring a one-hand clock dating from the XIV century, was modified at the end of the XVI century with the addition of the top part in brick. The statue of Cosimo I de Medici by G. Berti is in the open gallery below the palazzo under a cross vault ceiling resting on ribbing. During the period of the Republic of Siena in Montalcino (1555-1559), it Moused the mint of Montalcino.

OPEN GALLERY n. 2
Erected between the XIV and XV centuries, it is made up of a portico formed by two Gothic-Sienese arches in stone and by four round arches in brick.

ASTRUSI THEATRE n. 3
Housed in the old Palazzo Tolomei and used over the centuries -for public functions, it was commissioned by the Astrusi Academy which had used a room in City Hall for its theatrical performances since the XVI century. It has been cited since 1678. It was restructured in the second half of the XVIII century by the architect Leonardo De'Vegni. The frescoed ceiling of this little XVIII century theatre is admirable for its mythological scene in neoclassic style: Sun Chariot with Apollo surrounded by the nine Muses.




SAINT EGIDIO CHURCH n. 4
This church was erected by the Sienese in 1325 which is confirmed by the black and white Balzana (the coat of arms of Siena) on the crowning of the front of the church built over an older construction. The architectural style is characterized by the fusion of Romanesque and Gothic styles most evident in the stone and travertine facade.

HOLY CROSS CHURCH n. 5
Reconstructed on the remains of an old oratory, the church was formerly home to a XIV century lay society abolished in 1785. The building was abandoned until 1872 when it was stored and opened for worship.

FORTRESS n. 6
Castle built on the ruins of an old Cassero, donjon, of the XIII and XIV centuries which was besieged many times earning fame for its invincibility and last bastion of freedom over the centuries. Typical example of an enclosed castle in a pentagonal shape with a tower at each corner epitomizing an admirable example of military architecture. Construction of the Fortress, commissioned by the Sienese State, started in 1361 by Domenico di Feo and Stefano Di Ser Mino Foresi. It has sustained a great deal of restructuring over the centuries.

CASSERO GATE n. 7
The gate adjacent to the Fortress (castrum-cassero) crowned with the Balzana, the coat of arms of Siena, and made up of a apical Sienese pointed segmental arch.

`CIVIC AND DIOCESAN MUSEUM AND SAINT AUGUSTINE CHURCH n. 8
Uniting two museographical entities, the Civic and Diocesan Museum is located in the former Convent of Saint Augustine which had already been named in honor of Saints Phillip and James and erected in the middle of the XIV century (1360 under the fresco depicting "Santa Caterina delle Ruote" undoubtedly establishes an important marker for dating). The building has a purely Romanesque-Gothic architectural structure shown in the gabled facade of the Church and its portal with spire and pinnacles; also noteworthy is the marble rosette which hangs above. The Civic and Diocesan Museum of Montalcino, which is one of the most important museums of Medieval and modern art and archeology in the Province of Siena, is part of the circuit of Sienese museums and should absolutely not be missed. Spread out over three floors, it includes twelve rooms open to the public containing almost 200 works of art divided into sculpture, paintings on wood and canvas, frescoes, sacred vestments, illuminated manuscripts, ceramics and jewelry.

PIERI BUILDING n.9
From 1555 to 1559, this building housed the detachment of the French Garrison sent by Emperor Henry II to help the newly established Republic of Siena in Montalcino. The Commander of the Garrison was Biagio di Mont Luc.

CORPUS DOMINI CHURCH n. 10
Built on the remains of the Saint Christopher Hospital in the XVI century, it was restored in the XVIII century by Sienese architect Giovanni Peccioli.

CHURCH OF SAINT ANTHONY n. 11
Oratory of the Venerable Society of Saint Anthony Abate, fruit of restructuring (circa 1726) which joined two separate buildings, one dedicated to Saint Anthony and the other to the Crucifix. Inside some pictorial works of art are from the XVI and XVII centuries.

CATHEDRAL OF SAINT SALVATORE n. 12
Erected on the highest point of the city on an ancient Romanesque parish church of 1000 which Pope Pious II Piccolomini designated Cathedral in 1462. The elegant and simple bell tower, an addition in 1700, was made from ashlar and stones from the demolished Romanesque Parish Church of San Pietro ad Asso. The Cathedral underwent a major restoration during the XIX century (1817-1832) under the supervision of Sienese architect Agostino Fantastici.

SANCTUARY OF OUR LADY OF PERPETUAL HELP n. 13
This church, which dates back to 1330 and enlarged in 1333, is situated at the location of the old Cornio(lo) Gate where a painting depicting the Madonna had been venerated for a long time. The present facade of the church dates back to the first thirty years of the XIX century. The existing bell tower was built from 1779 to 1782 after the previous one had been knocked down. It had been built over the period from 1628 to 1637. Above the high altar, which was made from alabaster from Castelnuovo dell'Abate in 1621, hangs a historic painting of the Madonna, object of veneration of the Church.

FORMER HOSPITAL OF SAINT MARY OF THE CROSS & WRITING DESK OF TAMAGNI n. 14
The hospital, founded in 1214, brought together the seven small hospitals which had existed until that time in Montalcino. This building is currently home of the municipal administration offices. The inside of the building has clearly undergone a great deal of restructuring, the last of which states back to the XVII century. Going through the entrance on the far right of the building, beyond a cast-iron window on your right just inside the entrance, there is a small office or former pharmacy entirely decorated with frescoes by Vincenzo Tamagni, a painter from San Gimignano who worked in Montalcino in the first thirty years of the XVI century.

FORMER CONVENT OF SAINT CATHERINE n. 15 Formerly run by nuns, this structure dates back to 1561 and survived the abolition decree of the Grand Duke of Tuscany of 1844, It eventually became a conservatory and, today, houses the local school.

BURELLI  GATE n. 16

This is the biggest and best-constructed access to the city transformed, in part, into a home over the years. The old double-gate entrance still bears signs of a portcullis in the center, a shelf overhangs the big external arch while the base ends in a buttress.


CHURCH OF MERCY n. 17

This little church, dedicated to Our Lady of Carmel, is located near the complex of Saint Francis. It was built around 1624 and has been home to the Society of Misericordia since 1846,


CHURCH OF SAINT FRANCIS n. 18

This church was established near the old parish church of Saint Michael the Archangel in Castelvecchio, patron of this part of the city. In 1285 it was donated by Simone Abate of Sant'Antimo to the first Franciscans in Montalcino. The restorations which modified this place of worship over the XVI to the XVIII centuries are quite notable. The inside was completely redone in Baroque style between 1789 and 1795 by Tommaso Paccagnini, an architect from Montalcino. Frescoes dating from 1510 to 1511 by Renaissance painter, Vincenzo Tamagni, are preserved in two of the chapels.


CHURCH OF SAINT PETER n. 19

Of Romanesque origins with a beautiful bell gable and facade with a simple door in travertine and double staircase. Above the entrance in an oculus, there is a terracotta bust of Saint Peter. The church underwent a complete interior transformation in the XVII century. Inside there are three noteworthy paintings by Ventura Salimbeni (1518-1613) representing the handing-over of the keys to Saint Peter (1600) on the high altar, the Crucifixion (1604) on the left altar and the Holy Sacrament (160D) on the right altar.


CASTELLANA GATE n. 20

From this place where a medieval structure with one arch now stands, originated an old stone road which lead to Fonte Buia springs, a water source of either Etruscan or Roman origin and, therefore, paradise-like area where some Etruscan tombs were discovered last century.


CASTELLANE FOUNTAINS n. 21

This the only spring water source located inside the walls; a monumental dual-arched Romanesque construction with low relief projected mouldings placed at the springer of the arches reproducing a series of small decorative heads.


CERBAIA GATE n.22

The most impressive and best conserved gate of the city walls equipped with a balcony. The Medicis added their distinctive coat of arms after 1559. At one time it had a door and portcullis. Under the arch there are dates inscribed on

the walls as a testament to recurring plagues.


      
SPRINGS OF THE APPICCIATI n. 23
Medieval springs dating from circa XII or XIV centuries.

 
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