Siena Cathedral

Siena Cathedral
Metropolitan Cathedral of Saint Mary of the Assumption
Duomo di Siena (Italian)
Cattedrale Metropolitana di Santa Maria Assunta (Italian)
Siena Cathedral
43.3177°N 11.3290°E / 43.3177; 11.3290
Location	Siena, Tuscany
Country	Italy
Denomination	Catholic
Tradition	Roman Rite
Website	operaduomo.siena.it
History
Status	Cathedral
Consecrated	1215
Architecture
Architect(s)	Giovanni di Agostino Giovanni Pisano Camaino di Crescentino
Architectural type	Church
Style	Italian Gothic, Romanesque, Classical
Groundbreaking	1196
Completed	1348
Specifications
Length	89.4 metres (293 ft)
Height	77 metres (253 ft)
Administration
Archdiocese	Archdiocese of Siena-Colle di Val d'Elsa-Montalcino
Clergy
Archbishop	Antonio Buoncristiani
Provost	Roberto Pialli
Archdeacon	Giovanni Soldani
UNESCO World Heritage Site
Official name	Historic Centre of Siena
Type	Cultural
Criteria	i, ii, iv
Designated	1995 (19th session)
Reference no.	717
Region	Europe and North America

Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.

It was the episcopal seat of the Diocese of Siena, and from the 15th century that of the Archdiocese of Siena. It is now the seat of the Archdiocese of Siena-Colle di Val d'Elsa-Montalcino.

The cathedral was designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The dome was completed in 1264. The lantern atop the dome was added by Gian Lorenzo Bernini. The bell tower has six bells, where the oldest one was cast in 1149. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with the addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius. There are thirty-five statues of prophets and patriarchs grouped around the virgin. The finest Italian artists of that era completed works in the cathedral. These artists were Nicola and Giovanni Pisano, Donatello, Pinturicchio, Lorenzo Ghiberti, and Bernini.

Early history

The origins of the first structure are obscure and shrouded in legend. There was a 9th-century church with the bishop's palace at the present location. In December 1058 a synod was held in this church resulting in the election of pope Nicholas II and the deposition of the antipope Benedict X. There is a common myth that the cathedral was consecrated on November 18, 1179, but there is little evidence to support this idea. There is evidence that the concentration ceremony occurred on November 18, according to the Ordo Officiorum Ecclesiae senensis, but without reference to a specific year.

In 1196, the cathedral masons’ guild, the Opera di Santa Maria, was put in charge of the construction of a new cathedral. Works were started with the north–south transept and it was planned to add the main, larger body of the cathedral later, but this enlargement was never accomplished.

By 1215 there were already daily masses said in the new church. Beginning in 1226, city records show that black and white marble blocks were being transported to the cathedral, presumably to be used for the facade and bell tower. These records also note the payment of stone masons to work with the marble blocks. The vaults and the transept were constructed in 1259–1260 at the order of the committee composed of city citizens. In 1259 Manuello di Ranieri and his son Parri carved the wooden choir stalls, which were replaced about 100 years later and have now disappeared. In 1264, Rosso Padellaio helped create the copper sphere on top of the dome. The pulpit, one of the few original works to survive today, was made between 1265-1268 by Nicola Pisano and his followers. This group was most likely also responsible for carving the main altar.

Unfinished nave extension of the cathedral

The interior of the dome

A second massive addition of the main body of the cathedral was planned in 1339. It would have more than doubled the size of the structure by means of an entirely new nave and two aisles ranged perpendicular to the existing nave and centered on the high altar. The majority of construction was under the direction of Giovanni di Agostino, a well-known sculptor of the time. Construction was halted by the Black Death in 1348. Unfortunately, the halt in construction revealed the failures already present in the new structure, such as a shallow foundation and weak building materials. The project was abandoned officially in 1355, and the work never resumed. The outer walls, remains of this extension, can now be seen to the south of the Duomo, while the floors of the uncompleted nave now serve as a parking lot and museum. Though unfinished, the remains are a testament to Sienese power, ambition, and artistic achievement. One of the walls can be climbed by narrow stairs for a high view of the city. The bell tower is one of the only modern aspects dated before 1215, built between the nave and south transept.

Façade

Upper façade mosaic – Coronation of the Virgin.

Siena Cathedral façade

Gargoyles and Saints on façade.

The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. Each of the cardinal points (west, east, north, and south) has its own distinct work; by far the most impressive of these is the west façade. Acting as the main entryway to the Duomo proper, it boasts three portals (see Portal (architecture)); the central one is capped by a bronze-work sun.

Built in two stages and combining elements of French Gothic, Tuscan Romanesque architecture, and Classical architecture, the west façade is a beautiful example of Sienese workmanship.

Work began on the lower part around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work on the Duomo's façade and the pulpit was influenced by his father Nicola Pisano. Built in Tuscan Romanesque style it emphasizes a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Giovanni Pisano's original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors, as well as the columns between the portals, are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.The figures above the portals, many of whom were Old Testament prophets, were carved exaggerated poses and features, to enable them to be seen from far away.

Giovanni Pisano was able to oversee his work until about 1296 when he abruptly left Siena, reportedly over creative differences with the Opera del Duomo, the group that oversaw the construction and maintenance of the Siena cathedrals. Pisano's work on the lower façade was continued under the direction of Camaino di Crescentino, but a number of changes were made to the original plan. These included raising the façade due to the raising of the nave of the church and the installation of a larger rose window based on designs by Duccio di Buoninsegna and commissioned by the city of Siena. Work on the west façade came to an abrupt end in 1317 when the Opera del Duomo redirected all efforts to the east façade.

Upper façade

There is debate as to when work on the upper façade was completed. Most scholars agree that it was finished sometime between 1360 and 1370, though when it began again is not known. The work continued to use Pisano's plans for the façade with some adaptations under the direction of Giovanni di Cecco. Di Cecco preferred more elaborate designs, most likely inspired by the Orvieto Cathedral. The façade needed to be much higher than foreseen as the nave had, once again, been raised.

The changes were probably needed to accommodate the raised nave and di Cecco's more elaborate design scheme, heavily influenced by French Gothic architecture, which caused the apparent division of the upper portion of the cathedral. Most noticeably the pinnacles of the upper portion do not continue from the columns flanking the central portal as they normally would in such cathedrals. Instead, they are substantially offset, resulting in a vertical discontinuity which is uncommon in cathedrals of the time as it can lead to structural weakness. To adjust for this imbalance, the towers on each side of the cathedral were opened by adding windows, reducing the weight they needed to support. The upper portion also features heavy Gothic decoration, a marked contrast to the simple geometric designed common to Tuscan Romanesque architecture.

Façade sculpture

While most of the sculpture decorating the lower level of the lavish façade was sculpted by Giovanni Pisano and assistant depicting prophets, philosophers and apostles, the more Gothic statuary adorning the upper portion—including the half-length statues of the patriarchs in the niches around the rose window—are works of later, unattributed, sculptors. Almost all the statuary adorning the cathedral today are copies. The originals are kept in the Crypt of the Statues in the Museo dell'Opera del Duomo.

Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, Nativity of Jesus and Presentation of Mary in the Temple, were made by Alessandro Franchi.

The bronze central door is a recent addition to the cathedral, replacing the original wooden one. The large door, known as the Porta della Riconoscenza, was commissioned in 1946 near the end of the German occupation of Siena. Sculpted by Vico Consorti and cast by Enrico Manfrini, the scenes on the door represent the Glorification of the Virgin, Siena's patron saint.

On the left corner pier of the façade is a 14th-century inscription marking the grave of Giovanni Pisano. Next to the façade stands a column with a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue, stolen from the Temple of Apollo in Rome.

Interior

Plan of Siena Cathedral. 1) Antonio Federighi Holy Water Stoups 2) Raffaello Vanni St. Francis de Sales 3) Pier Dandini Saint Catherine. 4) Bell Tower 5) Gian Luigi Bernini Madonna del Voto Chapel 6) Luigi Mussini Saint Crescentius 7) Alessandro Casolani Nativity 8) Wooden Choir 9) Duccio di Buoninsegna Stained Glass Window 10) Baldassare Peruzzi Main Altar 11) Donatello Bishop Pecci's Tomb 12) Domenico Beccafumi Angel Candelabra Holders 13) Nicola Pisano Pulpit 14) Francesco Vanni Saint Ansanus 15) Donatello St. John the Baptist 16) Piccolomini Library 17) Andrea Bregno Piccolomini Altarpiece 18) Pavement 19) Sacristy

In the interior the pictorial effect of the black and white marble stripes on the walls and columns strikes the eye. Black and white are the colours of the civic coat of arms of Siena. The capitals of the columns in the west bays of the nave are sculpted with allegorical busts and animals. The horizontal molding around the nave and the presbytery contains 172 plaster busts of popes dating from the 15th and 16th centuries starting with St. Peter and ending with Lucius III. The spandrels of the round arches below this cornice exhibit the busts of 36 emperors. The vaulted roof is decorated in blue with golden stars, replacing frescoes on the ceiling, while the formerets (half ribs) and the tiercerons (secondary ribs) are adorned with richly elaborated motifs.

The stained-glass round window in the choir was made in 1288 to the designs of Duccio. It is one of the earliest remaining examples of Italian stained glass. The round stained-glass window in the façade dates from 1549 and represents the Last Supper. It is the work of Pastorino de' Pastorini.

Nave and dome

One of the two 18 m (60 ft) tall flagpoles in the Siena Cathedral. During the battle of Montaperti (1260), Bocca degli Abati, a Sienese spy, brought the Florence flag down causing panic among the Florentine soldiers and ultimately their defeat.

The hexagonal dome is topped with Bernini's gilded lantern, like a golden sun. The trompe-l'œil coffers were painted in blue with golden stars in the late 15th century. The colonnade in the drum is adorned with images and statues of 42 patriarchs and prophets, painted in 1481 by Guidoccio Cozzarelli and Benvenuto di Giovanni. The eight stucco statues in the spandrels beneath the dome were sculpted in 1490 by Ventura di Giuliano and Bastiano di Francesco. Originally they were polychromed, but later, in 1704, gilded.

Next to the first two pillars, there are two fonts, carved by Antonio Federighi in 1462–1463. His basin for the Blessing of Holy Water was later transferred to the chapel of San Giovanni.

Pillars with angels and the altar

The marble high altar of the presbytery was built in 1532 by Baldassarre Peruzzi. The enormous bronze ciborium is the work of Vecchietta (1467–1472, originally commissioned for the church of the Hospital of Santa Maria della Scala, across the square, and brought to the cathedral in 1506). At the sides of the high altar, the uppermost angels are masterpieces by Francesco di Giorgio Martini (1439–1502).

Against the pillars of the presbytery, there are eight candelabras in the form of angels by Domenico Beccafumi (1548–1550), He also painted the frescoes, representing Saints and Paradise, on the walls in the apse. These were partially repainted in 1912. Behind the main altar is a very large painting Assumption of the Virgin by Bartolomeo Cesi in 1594. The presbytery keeps also the beautiful wooden choir stalls, made between 1363–1397 and extended in the 16th century. Originally there were more than ninety choir stalls, arranged in double rows. The remaining 36 stalls are each crowned by the bust of a saint in a pointed niche. Their backs are decorated with carved panels, the work of Fra’ Giovanni da Verona in 1503.

Pulpit

Main article: Pulpit (Siena Cathedral)

Pulpit, 1259/60, commissioned by Bishop Federico Visconti from Nicola Pisano, Marble, height c, 15' (4.6 m)

The pulpit is made of Carrara marble and was sculpted between the end of 1265 and November 1268 by Nicola Pisano and several other artists. This pulpit expresses the northern Gothic style adopted by Pisano, while still showing his classical influences. The whole message of the pulpit is concerned with the doctrine of Salvation and the Last Judgment. In the top level, seven scenes narrate the Life of Christ. The many figures in each scene with their chiaroscuro effect, show a richness of surface, motion, and narrative. On the middle-level statuettes of the Evangelists and Prophets announce the salvation of mankind. The pulpit itself is the earliest remaining work in the cathedral. The staircase dates from 1543 and was built by Bartolomeo Neroni. At the same time, the pulpit was moved from the choir to its present location.

Mosaic floor

The pulpit and the mosaic floor

The inlaid marble mosaic floor is one of the most ornate of its kind in Italy, covering the whole floor of the cathedral. This undertaking went on from the 14th to the 16th centuries, and about forty artists made their contribution. The floor consists of 56 panels in different sizes. Most have a rectangular shape, but the later ones in the transept are hexagons or rhombuses. They represent the sibyls, scenes from the Old Testament, allegories and virtues. Most are still in their original state. The earliest scenes were made by a graffito technique: drilling tiny holes and scratching lines in the marble and filling these with bitumen or mineral pitch. In a later stage black, white, green, red, and blue marble intarsia were used. This technique of marble inlay also evolved during the years, finally resulting in a vigorous contrast of light and dark, giving it an almost modern, impressionistic composition.

The uncovered floor can only be seen for a period of six to ten weeks each year, generally including the month of September. The rest of the year, the pavements near the altar are covered, and only some near the entrance may be viewed.

The She-Wolf of Siena

The earliest panel was probably the Wheel of Fortune (Ruota della Fortuna), laid in 1372 (restored in 1864). The She-Wolf of Siena with the emblems of the confederate cities (Lupa senese e simboli delle città alleate) probably dates from 1373 (also restored in 1864). The Four Virtues (Temperanza, Prudenza, Giustizia and Fortezza) and Mercy (Misericordia) date from 1406, as established by a payment made to Marchese d'Adamo and his fellow workers. They were the craftsmen who executed the cartoons of Sienese painters.

The first known artist working on the panels was Domenico di Niccolò dei Cori, who was in charge of the cathedral between 1413 and 1423. We can ascribe to him several panels such as the Story of King David, David the Psalmist, and David and Goliath. His successor as superintendent, Paolo di Martino, completed between 1424 and 1426 the Victory of Joshua and Victory of Samson over the Philistines.

In 1434 the renowned painter Domenico di Bartolo continued with a new panel Emperor Sigismund Enthroned (Imperatore Sigismundo in trono). The Holy Roman Emperor Sigismund was popular in Siena, because he resided there for ten months on his way to Rome for his coronation. Next to this panel, is the composition in 1447 (probably) by Pietro di Tommaso del Minella of the Death of Absolom (Morte di Assalonne).

The next panel dates from 1473: Stories from the Life of Judith and the Liberation of Bethulia (Liberazione di Betulia) (probably) by Urbano da Cortona.

The Slaughter of the Innocents

In 1480 Alberto Aringhieri was appointed superintendent of the works. From then on, the mosaic floor scheme began to make serious progress. Between 1481 and 1483 the ten panels of the Sibyls were worked out. A few are ascribed to eminent artists, such as Matteo di Giovanni (The Samian Sibyl), Neroccio di Bartolomeo de' Landi (Hellespontine Sibyl) and Benvenuto di Giovanni (Albunenan Sibyl). The Cumaean, Delphic, Persian and Phrygian Sibyls are from the hand of the obscure German artist Vito di Marco. The Erythraean Sibyl was originally by Antonio Federighi, the Libyan Sibyl by the painter Guidoccio Cozzarelli, but both have been extensively renovated. The large panel in the transept The Slaughter of the Innocents (Strage degli Innocenti) is probably the work of Matteo di Giovanni in 1481. The large panel below, the Expulsion of Herod (Cacciata di Erode), was designed by Benvenuto di Giovanni in 1484–1485. The Story of Fortuna, or Hill of Virtue (Allegoria della Fortuna), by Pinturicchio in 1504, was the last one commissioned by Aringhieri. This panel also gives a depiction of Socrates.

Domenico Beccafumi, the most renowned Sienese artist of his time, worked on cartoons for the floor for thirty years (1518–1547). Half of the thirteen Scenes from the Life of Elijah, in the transept of the cathedral, were designed by him (two hexagons and two rhombuses). The eight-meter long frieze Moses Striking water from the Rock was executed by him in 1525. The bordering panel, Moses on Mount Sinai was laid in 1531. His final contribution was the panel in front of the main altar: the Sacrifice of Isaac (1547).

Works of art

Saint Paul by Michelangelo Buonarroti

The cathedral's valuable pieces of art including The Feast of Herod by Donatello, and works by Bernini and the young Michelangelo make it an extraordinary museum of Italian sculpture. The Annunciation between St. Ansanus and St. Margaret, a masterwork of Gothic painting by Simone Martini and Lippo Memmi, decorated a side altar of the church until 1799, when it was moved to the Uffizi of Florence.

The funeral monument for cardinal Riccardo Petroni (Siena 1250 - Genoa 1314, a jurisconsult of Pope Boniface VIII) was erected between 1317 and 1318 by the Sienese sculptor Tino di Camaino. He had succeeded his father as the master-builder of the Siena cathedral. The marble monument in the left transept is the earliest example of 14th-century funeral architecture. It is composed of a richly decorated sarcophagus, held aloft on the shoulders of four statues. Above the sarcophagus, two angels draw apart a curtain, revealing the cardinal lying on his deathbed, accompanied by two guardian angels. The monument is crowned by a spired tabernacle with statues of the Madonna and Child, Saint Peter and Saint Paul.

In the pavement, in front of this monument, lies the bronze tombstone of Bishop Giovanni di Bartolomeo Pecci, bishop of Grosseto, made by Donatello in 1427. It shows the dead prelate laid out in a concave bier in highly illusionistic low relief. Looking at it obliquely from the end of the tomb, gives the impression of a three-dimensionality. It was originally located in front of the high altar and moved to the present location in 1506.

The wall tomb of bishop Tommaso Piccolomini del Testa is set above the small door leading to the bell tower. It is the work of the Sienese painter and sculptor Neroccio di Bartolomeo de' Landi in 1483.

The Piccolomini Altarpiece, left of the entrance to the library, is the work of the Lombard sculptor Andrea Bregno in 1483. This altarpiece is remarkable because of the four sculptures in the lower niches, made by the young Michelangelo between 1501 and 1504: Saint Peter, Saint Paul, Saint Gregory (with the help of an assistant) and Saint Pius. On top of the altar is the Madonna and Child, a sculpture (probably) by Jacopo della Quercia.

Many of the Duomo's furnishings, reliquaries, and artwork, have been removed to the adjacent Museo dell'Opera del Duomo. This includes Duccio's Maestà altarpiece, some panels of which are scattered around the world or lost. Duccio's large stained glass window, original to the building, was removed out of precaution during WWII for fear of shattering from bombs or fire. A replica has been installed in the Duomo ever since. The glass depicts a typical Sienese religious subject- three panels of the death, Assumption, and Coronation of Mary, flanked by the city's most important patron saints, Saint Ansanus; Saint Sabinus; Saint Crescentius; and Saint Victor, and in four corners are the Four Evangelists.

Chapel of Saint John the Baptist

Saint John the Baptist by Donatello

The Chapel of Saint John the Baptist is situated in the left transept. At the back of this chapel, amidst the rich renaissance decorations, is the bronze statue of St. John the Baptist by Donatello. In the middle of the chapel is a 15th-century baptismal font. But most impressive in this chapel are the eight frescoes by Pinturicchio, which were commissioned by Alberto Aringhieri and painted between 1504 and 1505. Two of the frescoes were repainted in the 17th century, while a third was completely replaced in 1868. The original paintings in the chapel are: Nativity of John the Baptist, John the Baptist in the desert and John the Baptist preaching. He also painted two portraits: Aringhieri with the cloak of the Order of the Knights of Malta and Kneeling Knight in Armour. These two portraits show us a very detailed background.

The Chigi Chapel

Madonna del Voto

The small Chigi Chapel (or Cappella della Madonna del Voto) is situated in the right transept. It is the last, most luxurious sculptural addition to the Duomo, and was commissioned in 1659 by the Sienese Chigi pope Alexander VII. This circular chapel with a gilded dome was built by the German architect Johann Paul Schor to the baroque designs of Gian Lorenzo Bernini, replacing a 15th-century chapel. At the back of the chapel is the Madonna del Voto (by a follower of Guido da Siena, 13th century), that even today is much venerated and receives each year the homages of the contrade. On the eve of the battle of Montaperti (4 September 1260) against Florence, the city of Siena had dedicated itself to the Madonna. The victory of the Sienese, against all odds, over the much more numerous Florentines was ascribed to her miraculous protection.

Two of the four marble sculptures in the niches, are by Bernini himself: Saint Jerome and Mary Magdalene. The other two are Saint Bernardine (Antonio Raggi) and Saint Catherine of Siena (Ercole Ferrata). The eight marble columns are originally from the Lateran Palace in Rome. The bronze gate at the entrance is by Giovanni Artusi.

Piccolomini Library

One of the many illuminated Psalters displayed in the library

The library was commissioned by cardinal Francesco Todeschini Piccolomini (then archbishop of Siena and the future pope Pius III) in 1492. It was intended as a repository of the books and the manuscript collection of his uncle cardinal Enea Silvio Piccolomini, eventually Pope Pius II. This collection included works by his uncle, books in Greek, Latin, and Hebrew, and many rare parchments. Today, many of the original collection has been lost, but the library still houses many exquistete illuminated Psalters ‘by Liberale da Verona and Girolamo da Cremona were executed between 1466 and 1478 and later carried on by other Sienese illuminators’.

Marble entrance to the Piccolomini Library. The fresco depicting the Papal Coronation of Pius III is just visible above the entrance.

Adjoined to the left-side of the cathedral, the entrance is set apart by a large marble wall monument, with two grand arches. This marble entrance was constructed by Lorenzo di Mariano in 1497. It contains a round relief of St. John the Evangelist (probably) by Giovanni di Stefano and, below the altar, a polychrome Pietà by the sculptor Alberto di Betto da Assisi in 1421. Above this marble monument is a fresco of the Papal Coronation of Pius III by Pinturicchio in 1504.

Entering the room, there is an unmistakable stylistic shift within the library, compared to the rest of the cathedral; whereas the cathedral is more somber and dark, the library is filled with light and bright colors. Much of the color comes from the many frescos that cover the entirety of the walls and ceilings.

The walls are covered with frescoes depicting the ten most important scenes from the life of Pope Pius II, to whom the library is dedicated. Pinturicchio painted this cycle of frescoes around the library between 1502 and 1507, representing Raphael and himself in several of them. There is some controversy whether these frescos were based, at least partially, on designs by Raphael. This masterpiece is full of striking detail and vivacious colours. Each scene is explained in Latin by the text below, and demonstrate the remarkable events from the secular and religious career of pope Pius II, first as a high prelate, then bishop, a cardinal and ultimately pope:

Frescos of Enea Silvio Piccolomini presenting Eleanora of Portugal to the emperor Frederick III and receiving the cardinal's hat in 1456

1. Enea Silvio Piccolomini (ESP) leaves for the Council of Basel. The storm scene in the background is a first in western art.

1. ESP, ambassador at the Scottish Court
2. ESP crowned court poet by emperor Frederick III
3. ESP makes an act of submission to Pope Eugene IV
4. ESP, bishop of Siena, presents emperor Frederick III with his bride-to-be Eleanora of Portugal at the Porta Camollia in Siena.
5. ESP receives the cardinal's hat in 1456
6. ESP, enters the Lateran as pontiff in 1458
7. Pius II convokes a Diet of Princes at Mantua to proclaim a new crusade in 1459
8. Pius II canonizes Saint Catherine of Siena in 1461
9. Pius II arrives in Ancona to launch the crusade.

Piccolomini Library

The ceiling is decorated in four panels, which each contain mythological subjects and are boarded by colorful, geometric patterns. They were executed between 1502 and 1503 by Pinturicchio and his assistants. The floor, made of blue ceramics with crescent moons, adds another element of color to the room. In the center of the room is a marble statue of three smiling women with entwined arms, who are personifications of the three graces. Originally a Greek painting, the famous statue Three Graces is a Roman copy that was bought specifically to be placed in the library.

Baptistry

Main article: Battistero di San Giovanni (Siena)

Unlike Florence or Pisa, Siena did not build a separate baptistry. The baptistry is located underneath the eastern bays of the choir of the Duomo. The construction of the interior was largely performed under Camaino di Crescentino and was completed about 1325. The main attraction is the hexagonal baptismal font, containing sculptures by Donatello, Jacopo della Quercia and others.

Crypt

South wall - Crypt - Duomo - Siena 2016

Located under the Duomo near the baptistry, and rediscovered in 1999 during an excavation, is the cathedral's crypt. There is evidence that the room was filled with dirt and other material waste in the beginning of the 15th century, with more deposits added in the first half of the 18th century. The room was decorated towards the end of the 13th century by a series of frescos, which survive today in vivid color. These frescos, covering each wall as well as the two pillars supporting the room, depict forty-five scenes from the Old and New Testaments. These scenes are bordered by geometric patterns and other embellishments.

See also

• History of medieval Arabic and Western European domes
• List of Gothic Cathedrals in Europe
• Roman Catholic Marian churches

Gallery

• 
  Siena Cathedral
• 
  Façade, bell tower, and column
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  Siena Cathedral
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  Stained-glass window depicting the Last Supper
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  Stained-glass window above altar depicting the life of Mary
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  High altar
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  Siena Cathedral interior
• 
  Siena Cathedral interior
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  Floor panel, Hermes Trismegistus
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  inlaid details of Hermes Trismegistus
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  Frescos, scenes 5 and 6
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  Frescos, scenes 7-10 and the Three Graces
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  Piccolomini Library
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  The interior of Duomo
• 
  Dome
• 
  Interior of the dome

External links

• Official website
• Slides of Siena Cathedral by Branson DeCou from the UC Santa Cruz Library Digital Collections
• The Gargoyles of the Duomo