Poi

Pieve di Santa Maria

Pieve di Santa Maria
Photo by Aliguieri on Pexels
Pieve di Santa Maria
Photo by Domenico Adornato on Pexels
Pieve di Santa Maria
Photo by Marina Ryazantseva on Pexels
Pieve di Santa Maria
Photo by Rafael De Lancer on Pexels

The church turns its back on Corso Italia and faces Piazza Grande with its apse — a deliberate orientation that tells you something about how seriously Arezzo once took its civic identity. Stand on the piazza side and the curved Romanesque stonework rises above the roofline like a quiet counterpoint to the square's more theatrical architecture.

Inside, the nave runs between columns with Corinthian capitals, and Pietro Lorenzetti's 1320 polyptych — Madonna and Saints, commissioned by Bishop Guido Tarlati — holds the high altar. Somewhere beneath the nave floor, in chestnut boxes, lie the bones of Giorgio Vasari.

💛 What travellers fall for

People who return tend to seek out the fifth column from the left on the apse — the one that bows slightly outward, misshapen by design or accident, depending on which theory you believe. They also look up at the central doorway's carved calendar reliefs, the Ciclo dei Mesi, which reward a slower second look than most visitors give them.

Good to know
Entry is free. Hours shift seasonally — roughly 08:30 to 19:00 in summer, shorter in winter — and the church closes without notice for funerals. Confirm times on arrival. The walk from Arezzo station takes around fifteen minutes along Corso Italia.

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The story

How Pieve di Santa Maria came to be

The pieve appears in documents as early as 1008, and during Arezzo's communal era it became a flashpoint in the city's long conflict with its bishops — a church that was also, in effect, a political position. The current structure took shape through the 12th and 13th centuries, with the three-loggiaed façade and the apse added or renovated in that period. The bell tower — nicknamed the Tower of a Hundred Holes, though its actual window count is 80 — was begun in 1216 and finished in 1330.

Giorgio Vasari oversaw a 16th-century interior renovation and was later buried in a chapel here. A 19th-century restoration stripped out the Baroque additions his era had introduced, returning the interior closer to its Romanesque and Gothic bones.

People & landmarks

Who and what shaped it

People who shaped it

Pietro Lorenzetti
Painted the polyptych 'Madonna and Saints' (1320) at the high altar, commissioned by Bishop Guido Tarlati.
Giorgio Vasari
Oversaw 16th-century interior renovation; buried in a chapel here after his death in 1574; his remains were reinterred in the nave center during 1865 renovations.
Giovanni d'Agostino
Created baptismal font panels depicting Stories of St. John the Baptist (1332–1333).
Andrea di Nerlo
Attributed frescoes of St. Dominic and St. Francis on a column (mid-14th century).

Landmark buildings

Pieve di Santa Maria
Romanesque church first documented 1008; rebuilt 12th century with 13th-century façade and Gothic interior; political stronghold during Arezzo's communal period against its bishops.
Bell Tower ('Tower of a Hundred Holes')
Romanesque tower begun 1216, finished 1330; approximately 50 meters high with 80 mullioned windows across five levels; rises from Corso Italia.
Practical

Plan your visit

On the map

When to go

Right now

25°C
Partly cloudy
Sat
35°
23°
Sun
35°
22°
Mon
36°
22°
Tue
🌦️
28°
21°
Weather data: Open-Meteo

Background & history adapted from Wikipedia (CC BY-SA) · specs from Wikidata (CC0) · weather from Open-Meteo · map data © OpenStreetMap contributors · photos from Wikimedia Commons / Unsplash with per-image credit. No third-party reviews or social posts reproduced.

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