Maps of Power

Siena, The Cathedral of Siena

Description

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.

Relations

Artifacts (1)
Name Class Description
Reliquary with the Relic of Saint John the Forerunner’s Right Arm, the Chapel of Saint John the Baptist in Siena Cathedral Artifact The reliquary with the relic of Saint John the Forerunner’s right arm is today kept in the crypt of the Chapel of St John the Baptist in the Cathedral of Siena. The foundation charter of the Monastery of Žiča shows that the Serbian King Stefan Prvovenčani (reigned 1196-1227) and his son, the later Serbian King Stefan Radoslav (reigned 1228-1233), bestowed some of the most highly venerated Christian relics upon it, among which is the above-mentioned relic with the ultimate purpose to transfer the image of the Holy Land to Serbia, and in that way secure sacral legitimacy for the young kingdom. Later, in 1464 the Despot of Morea Thomas Palaiologos brought it with him to Siena, along with some other precious possessions, and turned it over to Pope Pius II (1458-1464) in exchange for a remarkable recompense. The relic consists of the embalmed, excellently preserved forearm and hand. The original cylindrical silver-gilt reliquary, clearly distinguishable from the later 15th century one, is decorated with filigree ornaments, gemstones and rows of pearls. In terms of style and craftsmanship, it finds closest analogies in the work of Byzantine goldsmiths of the 10th to 12th centuries.The waist-length portrait of Saint John the Baptist incised in the middle of its domical lid is encircled by the donor’s prayerful inscription: The Forerunner’s right arm. Protect me, Sava, Serbian Archbishop. Based on analogies from the Byzantine world, it seems very likely that the relic was used on important state and church occasions. The relic enjoys the status of a highly venerated cult object ever since.