VOLTERRA
toscana
Sites: Piazza dei Priori (Palazzo dei Priori, Palazzo Pretorio and the Tower of Little Pig, Palazzo Vescovile, Palazzo Incontri, Palazzo del Monte Pio), The Medieval Wall and the Gates, The Medicea Fortress, The Duomo, Archaeological Sites.
The town was first built by the Etruscan on the mountain crest separating the wide Cecina valley from the Era valley in a position which had already been exploited by humans as far back as the Neolithic Age which can be attested by numerous archaeological finds. Volterra was one of the twelve lucumonies comprising the Confederation of the Etruscans. In the IV century BC, thanks to its flourishing economy, the great defensive walls were erected having a perimeter of more than 7 kilometers. However, after being subdued by Rome in around 260 BC, it became a Roman municipality, and when the Eastern Roman Empire broke up it was made Episcopal seat. After a period of invasions from the IX to the XXII century the town enjoyed favorable status among the Carolingian, Saxon and Frankish emperors. In the first half of the XII century Volterra became a free commune struggling with the Bishop for possession of the city and the riches of its territory. After attempts of rebellion and compromise the city was besieged and sacked by the Florentines in 1472 over its alum quarries. To this day the city has maintained a predominantly medieval appearance, especially in its civic and private buildings, such as the "Palazzo dei Priori"; dating from the XIII century, "Palazzo Pretorio", the Buomparenti and Buonaguidi "Tower Houses" and the Toscano Tower Houses in "Piazzetta di San Michele" on Via Guarnacci. Sign of ancient civilization can be found in the religious buildings, which include the Cathedral from the XII century, the octagonal Baptistery with a dome and an elegant marble portal, the conventual Church of Saint Francis with the adjacent Croce di Giorno Chapel with frescoes by Cenni di Francesco (1410), the Church of San Michele "in foro" with its Pisan facade, as well as the ancient building of the Church of Sant'Alessandro.
In addition, Volterra has preserved monuments from the Etruscan Age which include the IV century BC Porta all'Arco, an arch which has sides formed out of enormous quadrangular blocks, the Acropolis of Piano di Castello, the IV century city walls which are still visible in some areas of the city, as well as hypogea, vases and cinerary urns. Artistic activity flourished during the Etruscan period between the VI and I century BC with the copious production of alabaster cinerary urns. Volterra has the main centre of this production which was taken up again in the XVI century and, consequently, it becam an individual art form. In addition to its monuments and numerous landmarks of artistic and historial value, Volterra has three important museums: the "Museo Guarnacci", which is, without a doubt, one of the most important Italian museum of the great Etrusco-Roman cultural heritage and its collections include alabaster cinerary urns and votive bronze statues, including the well-know "Ombra della Sera" (Evening Shadow), the "Pinacoteca" (Picture Gallery) and Municipal "Museo di Palazzo Minucci-Solaini" with Rosso Fiorentinos magnificent painting "Deposizione dalla Croce" (deposition from the cross) and the Museo Diocese which is important for its variety of textiles, miniatures and the XIII century sculptures of the Siena school.
PIAZZA DEI PRIORI
The land, on which the centre of civic life evolved, was once named the Bishop's Prato for it was the bishop who originally presided over and ruled the city. The newly founded commune gradually took over the bishop's rule and the towers and the first dwellings were erected on the Prato. An elm tree was planted in the main square, around which the consuls and elders gathered to discuss and contitute laws.
Palazzo dei Priori
The palace was designed by Maestro Riccardo in 1239 as the inscription near the main entrance attests. The three-storey facade adorned with trilobed, double arched windows and the Della Robbia glazed terracotta coats of arms of the Florentine magistrates (XV-XVI centuries) also bears the canna volterrana, the medieval standard measurement of the commune, engraved between the banner and torch holders. The two Marzocco lions, a symbol of Florence, were added in 1472 when the palazzo became the seat of the Captain of Justice. The pentagonal shaped tower isn't completely original for the top half was rebuilt after the last earthquake in 1846 by the architect Mazzei who also embellished other buildings in the main square. The entrance decorated with coats of arms leads to the stairway and a fresco of the Crucifixion with Saints by Pier Francesco Fiorentino who also painted the Crucifixion in the mayor's antechamber. The Virgin with Child has been attributed to Raffaellino del Garbo. The magnificent Council Hall with a cross vaulted ceiling exhibits the fresco of The Annunciation and four Saints, Cosmas, Damian, Giusto and Ottaviano, painted by Jacopo di Cione and Nicolò di Pietro Gerini. While the fresco was being trasferred onto canvas, the sinopia now displayed in the antechamber, were discovered. On the right wall, The Marriage Feast at Cana, a large canvas painted by Donato Mascagni in the XVI century. In the antechamber, the "Sala della Giunta", wood panel of Persius Flaccus by Cosimo Daddi, a fresco transferred to canvas of St. Girolomo, two small canvas paintings by Giandomenico Ferretti (XVIII century) depicting The Adoration of the Magi, Birth of the Virgin by Ignazio Hugford and a canvas of Giobe by Donato Mascagni.
Palazzo Pretorio and the Tower of Little Pig
This palace made up of several buildings and modified in the XIX century was originally the seat of the "Podestà" and the captain of the people. The tower considered to be one of the first towers built in Volterra is traditionally known as the Tower of the Little Pig for at the top of the tower there is a stone animal poised on a shelf.
Palazzo Vescovile
This palace originally built as a grain store became the bishop's residence after 1472 when the "Palazzo dei Vescovi" was destroyed by the Florentines to make way for the fortress. The great arches have been attributed to Antonio da San Gallo the Elder.
Palazzo Incontri
Now the "Cassa di Risparmio di Volterra" (the local bank), the palace is both Medieval and Renaissance as recent restoration work has revealed. After the Council of Trent the palace was a seminary until the end of the XVIII century.
Palazzo del Monte Pio
The palace was embellished this century to blend in with the medieval style of the Piazza but is in fact XIII century. The original construction can still be seen at the rear of the building in the "Vicolo Mazzoni".
THE MEDIEVAL WALL AND THE GATES
The Medieval wall was built in the XIII century. When the Ghibellines succeeded the Guelfs it was obvious that the Etruscan wall, recently repaired and reinforced in 1254, was far too extensive to guarantee defensive protection. In the Autumn of 1260 forty stone masons were hired to build a smaller circuit which was completed to much expense within a few years.
Porta a Selci
The gate which leads to Siena, with a simple pointed arch was built in the XVI century to replace the earlier gate, known as the Sun Gate, destroyed when the fortress was erected in the XV century.
Porta Marcoli
Probably built in the XIV century, the gate served as access to the Olivetan monestery at St. Andrea (today a seminary) and a convenient entrance for the farmers coming into town from the surrounding countryside.
Porta di Docciola
Built in the XIII century, the gate served as a link between the city and the fertile valley below. The gate, with an exterior round arch and inner pointed arch, still preserves the features of XIII century Volterran architecture.
Porta Fiorentina
Originally called St. Agnolo after the nearby church dedicated to the Archangel, presents the same architectual structure typical of Volterra although modifications carried out in the XVI century are still evident. During a siege, the tower above the gate used as an armoury, was destroyed in 1530. This gate leads to Florence through the Era Valley, Castagno, Gambassi and Castelfiorentino.
Porta San Francesco
This gate is also known as the Gate of Santo Stefano or the Pisan Gate as it leads to Pisa through the Era Valley. It is the only gate that still preserves traces of the original frescoes painted in the vaults and an engraving of the Pisan canna, a unit of lenght, slightly longer than that of Volterra engraved on the facade of the Palazzo dei Priori.
Porta San Felice
The gate with a single arch sustained on both sides by the medieval walls is very different from all the other gates of the city. The gate flanks a tiny chapel with a bell tower and offers a magnificent panoramic view of the soft rolling hills as far as the sea.
The Fonts
Fonte di Docciola
At the Docciola Gate, the font was built in 1254 by Maestro Stefano, as the inscription, between the pointed arches, attests. At the bottom of a steep hill this evocative architectual splendour is a little hidden today. During the Middle Ages the water served the mills and the wool industry in the Era Valley.
San Felice
Similar to Docciola, this font designed by Chelino Ducci Tancredi was built in 1319 by the inhabitants of Borgo Santo Stefano as the inscription between the two arches attests. In the vicinity there are the remains of the Etruscan wall and an arch which local historians have named the "Porta Romana", and probably served as the entrance to the Roman Baths ("Terme Guarnaccione").
THE MEDICEA FORTRESS
It is a huge military complex built on the top of the hill and one of the strongest fortresses in Renaissance architecture. It is composed of two distinct parts: the ancient fortress dates back to the XIV century. It is of a trapezoidal shape with a strong circular keep in the center. The New Fortress was built by Lorenzo The Magnificent between 1472 and 1475. The four sided layout has strong corner towers, with the center hosting the monumental Mastio tower. The two fortresses are connected by a long building and the location of the barracks and prisons, which are still in use today.
THE DUOMO
The Cathedral dedicated to the Assumption Mary was reconstructed in about 1120 on the site of a preexisting church dedicated to the Holy Mary. The Romanesque facade is interposed by the geometric intarsia marble framework of the main entrance added in the XIII century and attributed by Vasari to Nicola Pisano. The interior was completely modified from 1580-1584 when Bishop Serguidi enthusiastically adhered to the new reforms laid down by the Council of Trent. Although in late Renaissance style, the cathedral still preserves the Romanesque latin cross and a nave flanked by two aisles. The columns dividing the nave from the aisles were decorated in stucco by Gianpaolo Rossetti and the capitals by Leonardo Ricciarelli. The six altars framed by a sculptured frieze in Montecatini stone date to the beginning of the XVI century. The gilded coffered ceiling, richly and colourfully decorated, was designed by Francesco Capriani, carved by Jacopo Pavolini of Castelfiorentino and gilded by Fulvo della Tuccia. The Holy Ghost in the centre is surrounded by the sculptured busts of Saints Ugo, Giusto, Pope Linus, Clemente, Attinea and Greciniana and above the altar the Assumption Mary with Saints Vittore and Ottaviano. The coats of arms of the Medici family, the Serguidi and the Commune of Volterra surmount the triumphal arch and an inscription commemorates the execution of the ceiling thanks to the benevolent generosity of the Grand duke, the solicitude of the bishop and the consent of the citizens. When the balustrade was dismantled, the pulpit was reconstructed and the romanesque windows were filled in and replaced by rectangular windows. Further restoration work was carried out from 1842-43; the walls were painted in white and grey stripes the flooring was relaid in black and white marble, the stucco columns were painted to simulate red granite and at the Bishop's expense, the presbytery was added by the architect Aristodemo Solaini.
After a fire, the transept was restored from 1842-43 in gothic style, tufa stonewalls and four steps on either side, to the regretful loss of the XVI century organ. On the left of the entrance there is the Funeral monument of Francesco Gaetano Incontri, the archbishop of Florence; the bust was sculptured by Arisdemo Costoli (XIX century) while the design and ornamentation was executed by Mariano Falcini. Below the monument, the eight marble intarsia panels, originally part of the XII century balustrade were beautifully carved by Pisan and Florentine artisans.
The Giorgi Chapel - Wood panel depicting The Offering of Volterra to the Virgin painted by Pieter de Witte in 1587 commissioned by captain Francesco del Bovino of the Giorgi family who appears in the left-hand corner of the painting.
The Collaini Chapel - Wood panel of the Birth of the Virgin by Francesco Curradi before 1618.
The Perissi Chapel - Wood panel of the Presentation of the Virgin in the Temple by Giovan Battista Naldini painted in 1590.
The Chapel of San Carlo - Above the door a wood panel of the Crucifixion with the Virgin, Saints John, Anthony Abbot, Francis and Augustine painted by Francesco Curradi in 1611. Above the altar, similar to those designed by Vasari, a canvas painting of the Ecstasy of Saint Carlo Borromeo before the Virgin by Jacopo Chimenti (known as Empoli). On the side walls Saint Mary Magdelan of Scolaro by Guido Reni and The Immaculate Conception by Francesco Brini.
The Serguidi Chapel - Attributed to Vasari, the chapel was completed in 1595, decorated in stucco by Leonardo Ricciarelli and painted by Giovanni Balducci. Above the altar, a wood panel of the Resurrection of Lazarus by Santi di Tito painted in 1592. On the side walls, two canvas painting by Giovanni Balducci 1591 "The Expulsion of the Infedels from the Temple" and "The Parable of the Loaves and Fishes".
The Chapel of Depositino - A magnificent group of five wooden polycrome figures representing the Deposition of Christ from the Cross executed in 1228 by an unknown Volterran artist.
The Chapel of Saint Ottaviano - A sarcophagus, containing the remains of the hermit saint, executed in 1522 by Raffaele Cioli from Settignano as a sign of gratitude at the cessation of a plague; the angel candle holders on either side are by Andrea Ferrucci.
The Maggiore Chapel and Choir - The rectory stalls are the work of Francesco del Tonghio and Adreoccio di Bartolomeo while the XV century fine intarsia bishop's throne and the chaplain benches are the work of Tuscan masters. The fresco on the ceiling above the choir is the only one remaining of a series of frescoes of the Life of the Virgin painted by Niccolò Cercignani in 1585. The marble altar, executed at the beginning of the XIX century, is surmounted by a marble ciborium sculptured by Mino da Fiesole in 1471. On either side of the altar stand two ornate XIII century marble columns with Corinthian capitals surmounted by two genuflecting angels bearing a candle holder, attributed to Mino da Fiesole.
The Chapel of Saint Ugo - The Bishop Saint of Volterra, Ugo dei Saladini, rests in the marble sarcophagus commisioned by Ludovico Incontri in 1644.
The Chapel of the Madonna dei Chierici - The wood statue of the Virgin and Child donated by Maestro Jacopo di Ciglio, known as "Il Barbialla" is an early work of Francesco di Valdambrino executed at the beginning of the XV century.
The Chapel of Saint Paul and the Inghirami Family - Rich in a variety of marble, the chapel was built for Admiral Jacopo Inghirami and designed by Alessandro Pieroni. Giovanni Mannozzi, known as Giovanni from St. Giovanni, painted the frescoes relating the story of the life of Saint Paul on the ceiling. The Baptistry of Volterra appears, as an interesting detail, in the scene of the "Procession to Damascus" in the lunette above the altar while on the right are four members of the Inghirami family one of whom is Admiral Jacopo conversing. On the walls, surrounded by frames executed by Nero di Porta Venere, a canvas of the Mission of St. Paul in Damascus by Matteo Roselli and the Beheading of St. Paul painted on canvas by Domenico Zampieri (Il Domenichino) in 1263. Above the door to the rectory a canvas of the Immaculate Conception with Saints by Cosimo Daddi (XVI century).
The Chapel of Verani - Wood panel of the immaculate Conception painted by Nicolò Cercignani, known as "Il Pomaracino", in 1586.
The Pulpit - The three reliefs of The Last Supper, The Annunciation and The Sacrifice of Isaac and the lions at the base of the columns are undoubtedly XII century works of the Guglielmo school. The other elements and the intarsia alabaster were added in 1584, the year in which the balustrade was dismantled and the pulpit was recomposed.
The Chapel of the Annunciation - Wood panel of The Annunciation by Maria di Mariotto Albertinelli in collaboration with Bartolomeo della Porta who painted the angel in 1497 as the inscription in charcoal behind the painting attests.
The Chapel of Saint Sebastian - Wood panel of the Martydom of St. Sebastian painted by Francesco Cungi di Borgo St. Sepolcro in 1588.
The Funeral Monument of Mario Maffei - The prelate dressed in his finery in a dormant pose on the sarcophagus was executed by Giovan Angelo Montorsoli, one of Michelangelo's assistents and commissioned by members of his family, Guido and Paolo Riccobaldi del Bava who wished to erect a memorial to the benevolent, renowned humanist and bishop of Cavaillon who died in Volterra in 1537.
The Oratory of the Virgin Mary - Two niches, closed by XVII century wraught iron gates, contain the Nativity with a background fresco of the Journey of the Magi by Benozzo Gozzoli on the left and the Epiphany on the right. These terracotta painted figures, of almost natural size, have recently been attributed to Giovanni della Robbia.
The Chapel of SS Nome - An elegant architectonical XVI century frame preserves the monogram of Christ donated to Volterra by San Bernardino of Siena in a precious silver XVIII century shrine.
The Sacresty - Reliqueries surmounted by baldachins and intarsia arches, probably part of a choir executed by Gaspare di Nando di Pelliccione from Colle Val D'Elsa in 1423. A large XVII century cabinet in the form of an altar contains the precious silver reliquary busts of the Volterran Saints. Intarsia cabinets with geometric designs and a XV century white marble sink.
The Baptistry
The Baptistry erected on an octagonal base has been dated as XIII century although some architectural and decorative elements suggest that it was possibly built at an earlier date. The facade is adorned with stripes of white and green marble and the main entrance is surmounted by an architrave decorated with the sculptured heads of Christ, the Virgin and the Apostles, a work of an artist close to Nicola Pisano. It is said that Brunelleschi offered advise for the construction of the dome in the XV century. The interior still maintains an austere simplicity; the marble frieze framing the altar is the work of Mino da Fiesole and Alessandro Balsimelli from Settignano while the wood panel above the altar of The Ascension was painted by Nicolò Cercignani in 1591. The baptismal font in the centre is by Vaccà (1760) while the octagonal marble baptismal font in the corner depicting the Baptising of Christ and the virtues of Faith, Hope, Charity and Justice was sculptured by Andrea Cuntucci, known as Sasovino in 1502.
The Bell Tower
The bell tower, separated from the Cathedral by the Chapel of the Virgin Mary, was rebuilt in 1493 after the collapse of the original tower as the inscription around the base attests.
ARCHAEOLOGICAL SITES
The Roman Theatre
.jpg "Volterra - Roman Theatre")
The construction of the theatre began at the beginning of the I century BC when the wealthy Caecina family rendered homage to the reconciliation with Imperialism by dedicating the monument to Augustus. Just below the medieval wall there is a large terrace with three arched niches and two stairways which served as the entrance to the annular shaped criptoporticus over which the highest part of the cave spread. The cavea served as a seating area for the audience. Nineteen rows of the central and lower cavea are still visible. The "itenera scalaria", the steps leading to the seats, are in Montecatini stone, the same used to sculpture the heads adorning the Etruscan gate. At the foot of the cavea lies the semicircular orchestra originally veneered in marble. The two corridors let onto the stage where the actors perfomed. Three doors opened onto the stage from the wings which served as a changing area (the one on the left is still visible). The curtain was rolled up from below in an ingenious telescopic manner and was contained in the narrow cana just in front of the wooden stage.
The Roman Baths
Behind the Theatre are the Roman Baths built in the IV century AD when the theatre had probably been abandoned. Epigraphic documents attest that the baths were dedicated to Emperor Giordian III. The remains of the furnace (ipocaustum), two cold baths (frigidarium), a warm bath (tepidarium), the hot baths (calidarium) above the ipocaustum and the sauna (sudatorium) are still visible. Hot air was passed from the furnace ipocaustum into the raised terracotta flooring remnents of which are still visible in the sudatorium.
During the Medieval period the area was used as a rubbish tip hence the Roman Theatre and Baths were completely buried until excavations began in 1951 by the Volterran archeologist Enrico Fiumi.
The Acropolis
The Etruscan Acropolis is situated at the heighest point of Volterra 552 metres above sea level offering a breathtaking panoramic view of the surrounding countryside including the sea and the Appennines. The Acropolis, situated in the beautiful surroundings of a landscaped park named after the Volterran archeologist Enrico Fiumi, is a very interesting archeological site showing evidence of the superimposed layers of the history of the city. As this part of the city was destroyed in 1472 by the Florentines the site not only encloses the foundations of two Etruscan temples, identified as temples A and B, but the road which delimited the sacred area, the vestiges of dwellings dating back to the Hellenistic period, a complex system of cisterns one of which is known as the "Piscina" and the ruins of medieval towers and roads.
The Etruscan Burial Sites
The Etruscan tombs here in Volterra are relatively simple as compared to the tombs in Tarquinia, Cerveteri, Chiusi and Populonia, rich in paintings and sculptures. Many of the tombs were carved into the sandstone below ground level and are often referred to by the locals as "Etruscan holes". The two tombs dating to the Hellenistic period, possibly belonging to the Gens Calcina, in the area of Marmini di Sotto are particularly interesting. One is a circular tomb held by a central pillar the other has a square central chamber leading into four smaller chambers. Each chamber contains a low wall where the cinerary urns were placed. A V century BC tomb is situated close to the church of San Giusto, composed of a few chambers excavated in the ground and sustained by pilasters carved in the rock. Other tombs are to be found in the area of Ulimeto enclosed within the hospital complex at St. Lazzero while the Ripaie burial site has been covered over by a relatively new sports ground and the Badia burial site was engulfed by the landslip known as Le Balze.
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