San Gimignano - Santa Maria Assunta 
The Collegiate Church of Santa Maria Assunta (the Assumption) stands on the west side of the Piazza del Duomo. (The name of the Piazza del Duomo - Cathedral Square - is misleading, for San Gimignano was never the see of a bishop and consequently never had a cathedral.)
Exterior
This aisled Romanesque church dates from the 12th century, but in 1457 it was enlarged by Giuliano da Maiano, who added a transept and side chapels.
Exterior
This aisled Romanesque church dates from the 12th century, but in 1457 it was enlarged by Giuliano da Maiano, who added a transept and side chapels.
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Must-see attractions nearby:
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The facade, left without a marble facing, has been much altered down the centuries.
Interior
On the inside of the entrance wall is a fresco by Benozzo Gozzoli (1456) depicting the martyrdom of St Sebastian. Here, too, are two wooden statues of the Annunciation (c. 1421) by Iácopo della Quercia.
Interior
On the inside of the entrance wall is a fresco by Benozzo Gozzoli (1456) depicting the martyrdom of St Sebastian. Here, too, are two wooden statues of the Annunciation (c. 1421) by Iácopo della Quercia.
Things to See
Frescoes 
In the right-hand aisle of Santa Maria Assunta is a monumental cycle of frescoes by Barna da Siena (14th century), with three registers of New Testament scenes - from the Annunciation to the Flight into Egypt, from Jesus in the Temple to the Entry into Jerusalem and from the Last Supper to Pentecost.
As Vasari tells us in his life of Barna, the painter was killed by a fall from the scaffolding while painting the Crucifixion and the work was completed by his nephew and pupil Giovanni d'Asciano. This new Testament cycle has its counterpart in the left-hand aisle, where there is another great series of frescoes of Old Testament scenes by Bártolo di Fredi (c. 1356; much overpainted). At the end of the right-hand aisle is the Cappella di Santa Fina, in the purest Renaissance style, by Giuliano and Benedetto da Maiano (1468). St Fina (1283-53) is San Gimignano's Patron Saint, much revered as a miracle worker.
The altar, also by Benedetto da Maiano, was several times remodeled in Baroque style, but was restored to its original form (involving some new work) in 1881. On the altar is a tabernacle with relief decoration, and on top of this is an urn which until 1738 contained the remains of St Fina. Above is a "Madonna and Child flanked by two Angels". In the arcades on either side of the altar are frescoes by Doménico Ghirlandaio (1475) depicting the life and death of St Fina.
As Vasari tells us in his life of Barna, the painter was killed by a fall from the scaffolding while painting the Crucifixion and the work was completed by his nephew and pupil Giovanni d'Asciano. This new Testament cycle has its counterpart in the left-hand aisle, where there is another great series of frescoes of Old Testament scenes by Bártolo di Fredi (c. 1356; much overpainted). At the end of the right-hand aisle is the Cappella di Santa Fina, in the purest Renaissance style, by Giuliano and Benedetto da Maiano (1468). St Fina (1283-53) is San Gimignano's Patron Saint, much revered as a miracle worker.
The altar, also by Benedetto da Maiano, was several times remodeled in Baroque style, but was restored to its original form (involving some new work) in 1881. On the altar is a tabernacle with relief decoration, and on top of this is an urn which until 1738 contained the remains of St Fina. Above is a "Madonna and Child flanked by two Angels". In the arcades on either side of the altar are frescoes by Doménico Ghirlandaio (1475) depicting the life and death of St Fina.
