The Old Sacristy
In the 1340s, at the height of a historical period of extraordinary significance for Siena and for its main hospital, and in a climate of intense cultural, religious, and political ferment, the care and religious spaces of Santa Maria della Scala were extensively renovated and enriched with decorative programs, paintings, furnishings, and chapels, so much so that the hospital became one of the most important centers of artistic production of the early Sienese Renaissance.
In the 1340s, at the height of a historical period of extraordinary significance for Siena and for its main hospital, and in a climate of intense cultural, religious, and political ferment, the care and religious spaces of Santa Maria della Scala were extensively renovated and enriched with decorative programs, paintings, furnishings, and chapels, so much so that the hospital became one of the most important centers of artistic production of the early Sienese Renaissance.
Level IV - Floor 1 from the Piazza Duomo entrance
In the 1340s — a period of extraordinary significance for Siena and its main hospital — the care and religious spaces of Santa Maria della Scala underwent extensive renovation. Amidst a climate of intense cultural, religious, and political activity, these areas were enriched with decorative elements, paintings, furnishings, and chapels. The hospital thus became one of the most important centers of artistic production in the early Sienese Renaissance. It was in this context that, under the direction of Rector Giovanni di Francesco Buzzichelli and the hospital chapter, the space adjoining the Church of the Santissima Annunziata was expanded to house a new Great Sacristy. This new area was designed to better accommodate and display the hospital’s precious collection of relics and reliquaries from Constantinople, acquired in 1359 and recently granted new indulgences by Pope Eugene IV. The decorations of the space were later overseen by Urbano di Pietro del Bello, Buzzichelli’s successor, who commissioned the work to Lorenzo di Pietro, known as Il Vecchietta — one of the most prominent and prolific artists of 15th-century Siena. In 1437, Vecchietta created the Arliquiera, a large two-door painted cabinet designed to house the sacra pignora (sacred relics). From 1446 to 1449, he executed the decorative frescoes on the vault and walls, depicting a cycle based on the articles of the Apostles’ Creed and corresponding Old Testament scenes. The new sacristy was further enriched with lavish furnishings and textiles, including velvet vestments and gold embroidery, so that it would not only serve as a fitting place for the preservation of relics but become, in itself, a precious reliquary.
Artworks
Madonna of the Mantle
In 1444, Domenico di Bartolo painted the Madonna of Mercy in the Chapel of the Relics, which later became a place of veneration. In 1610, the fresco was moved to the Old Sacristy. During the 1969 restoration, preparatory sketches and hidden side panels were discovered.
In 1444, Domenico di Bartolo painted the Madonna of Mercy in the Chapel of the Relics, which later became a place of veneration. In 1610, the fresco was moved to the Old Sacristy. During the 1969 restoration, preparatory sketches and hidden side panels were discovered.
Reliquary
The Reliquary is a liturgical object of great artistic and religious value. It features relief scenes of the Resurrection and the Crucifixion.
The Reliquary is a liturgical object of great artistic and religious value. It features relief scenes of the Resurrection and the Crucifixion.
Reliquary of the Holy Nail
The reliquary of the Holy Nail is a work of great historical and artistic value, connected to one of the most important objects of devotion in the Christian tradition.
The reliquary of the Holy Nail is a work of great historical and artistic value, connected to one of the most important objects of devotion in the Christian tradition.
The Arliquiera
The “arliquiera”, a reliquary cabinet about two meters high, was made by Lorenzo di Pietro known as Il Vecchietta in 1445, intended for the sacristy adjacent to the hospital church.
The “arliquiera”, a reliquary cabinet about two meters high, was made by Lorenzo di Pietro known as Il Vecchietta in 1445, intended for the sacristy adjacent to the hospital church.
The fresco cycle of the Old Sacristy
The “fresco cycle of the old sacristy” is one of the most important masterpieces of Santa Maria della Scala, executed by Lorenzo di Pietro, known as the Vecchietta, between 1446 and 1449. Of extraordinary technical refinement, stylistic elegance, and thematic complexity, this cycle unfolds on the vault and the lower walls of the sacristy.
The “fresco cycle of the old sacristy” is one of the most important masterpieces of Santa Maria della Scala, executed by Lorenzo di Pietro, known as the Vecchietta, between 1446 and 1449. Of extraordinary technical refinement, stylistic elegance, and thematic complexity, this cycle unfolds on the vault and the lower walls of the sacristy.