Museo: La Città e la Basilica Papale di Assisi

Basilica of Saint Clare

Let's begin our journey of discovering Assisi at the radiant Basilica of Saint Clare, recognizable by its distinctive pink and white stone façade and the imposing flying buttresses that support it. Built between 1257 and 1265, shortly after the saint's canonization, this church houses some of the most treasured artifacts of Franciscan spirituality. Upon stepping through the threshold, allow yourself to be enveloped by the atmosphere of contemplation that permeates the single nave, so typical of Franciscan churches. Here, in the chapel to the right, the renowned Crucifix of San Damiano is preserved, perhaps the most emblematic object of the entire Franciscan experience. It was right in front of this cross that, in 1205, the young Francis heard the voice of Christ asking him to "repair His house, which is falling into ruin," an episode that marked the beginning of his conversion. It's curious to consider how Francis initially interpreted this message literally, dedicating himself to restoring the small church of San Damiano, before understanding that his mission was much broader: to spiritually reform the universal Church. Descending into the crypt, constructed in 1850, we encounter the tomb of Saint Clare. The saint's body, remarkably found intact in 1850, six hundred years after her death, is also displayed here. Adjacent to it are some poignant relics: the hair Clare cut off on the night of Palm Sunday in 1212, when, at eighteen, she fled her family home to follow Francis's ideal, and the tunic Francis himself gave her as a sign of welcome into her new life of poverty. Before leaving the basilica, it is worth visiting the adjacent Chapel of the Crucifix, where personal belongings of Saint Clare are displayed, and the cloister, a peaceful oasis that invites reflection. We then exit the Basilica and descend via Sermei: in five minutes, we will be in front of the New Church, the birthplace of Francis.

Chiesa Nuova: The Birthplace of Saint Francis

Through the characteristic medieval alleys of Assisi, we arrive at the Chiesa Nuova, a building that, despite its name, is now over four hundred years old. Built between 1615 and 1621 at the behest of King Philip III of Spain, this Baroque church stands precisely on the site where, according to tradition, the birthplace of Saint Francis was located. The sober and elegant façade introduces a centrally planned interior with a dome, typical of Counter-Reformation architecture. What makes this place particularly poignant is its connection to the most intimate moments of Francis's life. Upon entering, on the right, we find what is identified as the "prison" of Francis: a small room where his father, Pietro Bernardone, locked him up in an attempt to dissuade him from his new ascetic lifestyle. It was his mother, Madonna Pica, who freed him during her husband's absence, allowing Francis to pursue his vocation. In the center of the church, protected by a grate, one can see what remains of the supposed stable where, according to tradition, Francis was born in 1182. It is said that his mother, about to give birth and fearing a difficult delivery, was led to the stable on the advice of a mysterious pilgrim (whom some identify as an angel), so that the child might be born in humility like Jesus. Although this legend is not historically documented, it underscores the parallel between the lives of Francis and Christ, a recurring theme in Franciscan hagiography. A curious anecdote concerns the saint's name: at birth, he was named Giovanni by his mother, but upon returning from France, where he had been for business, his father renamed him Francesco ("the Frenchman") in honor of the country where he had concluded profitable trades. That nickname, given for such worldly reasons, would become one of the most revered names in Christianity. The church also houses other relics related to Francis's family: the baptismal font where he was baptized (actually a copy, as the original is located in the Cathedral of San Rufino), some supposed belongings of the Bernardone family, and a touching portrait of Francis made shortly after his death, considered one of the most realistic. Also interesting is the small cloister adjacent to the church, where once lay the garden of the paternal home. Here, tradition says, the young Francis cultivated roses, his favorite flower, and it was here that one of his first miracles occurred: during a January night, in the middle of winter, the roses suddenly bloomed when the saint passed by in prayer. Exiting onto the small square, we continue slightly downhill along Corso Mazzini; in less than two hundred meters, we will emerge onto the lively Piazza del Comune, the medieval heart of Assisi.

Piazza del Comune: The Medieval Heart of Assisi

We find ourselves in Piazza del Comune, the true beating heart of Assisi's civic life for over two thousand years. This elongated square, betraying its Roman origin (it was the city's ancient forum), better than any other place tells the historical layering that characterizes Assisi. At the center of the square stands the Fountain of the Three Lions, built in 1762 but replacing an earlier medieval fountain. The three lions that give it its name represent the three theological virtues: faith, hope, and charity. Interestingly, this fountain was for centuries the main water source for the town's inhabitants, and even today you can see local elders stopping to fill bottles with its fresh water. The square is dominated by buildings that represent the different powers that have governed Assisi over the centuries. On one side, the religious power with the Temple of Minerva, transformed into a Christian church; on the other, the civic power with the Palazzo dei Priori and the Torre del Popolo. This coexistence is no accident: in the Middle Ages, Assisi's public life was characterized by a delicate balance between ecclesiastical and communal authority. I recommend taking a few minutes to observe the bustle of life that animates this space. Over the centuries, this square has witnessed markets, religious processions, public executions, popular festivals, and uprisings. It is said that right here, in 1206, the young Francis performed one of the most significant acts of his conversion: the public renunciation of his father's wealth, stripping off his clothes before Bishop Guido and his father Pietro Bernardone, a wealthy cloth merchant, declaring he had no father but the one in heaven. Also, take note of the various artisan shops surrounding the square: many still retain their ancient medieval openings, and some artisan families boast a presence in those same premises for generations. Particularly interesting are the shops selling hand-painted ceramics according to the Umbrian tradition and the local product shops, where you can find excellent DOP Umbria olive oil and regional wines. Let us cross the square towards the emblem-adorned facade: it is the Palazzo dei Priori, emblem of civic power that we are now going to discover.

Palace of the Priors - Symbol of Civic Power

The Palace of the Priors is an elegant testament to the communal power that governed Assisi during the Middle Ages. Built between the 13th and 14th centuries, this building represents one of the finest examples of Gothic civil architecture in Umbria. Its sober yet imposing façade is made of pink limestone from Mount Subasio, the same material used for much of Assisi's historical buildings, giving the city its characteristic rosy hue that glows with golden tones at sunset. The façade is adorned with a series of finely crafted Gothic bifora windows and, at the top, the characteristic swallowtail crenellations, revealing the city's political allegiance during that historical period. Here sat the Priors, the magistrates who administered the city, elected from the most influential families. A curious anecdote relates to the election of the Priors: to avoid external interference during the electoral process, the electors were literally walled inside the palace until they reached a decision. This practice gave rise to the expression "being in conclave," though it is more commonly associated with the papal election. Entering through the main portal, we arrive in the atrium where we can admire some coats of arms and memorial plaques that tell fragments of the city's history. Particularly interesting is the Council Hall on the first floor, where the city assembly met and where today the Municipal Council sessions are held. The walls are decorated with 16th-17th century frescoes celebrating Assisi's history. A curious detail: on the façade, you will notice two iron chains hanging. These were the "chains of the porch," stretched during public assemblies to prevent the entrance of horses and animals, thus ensuring the tranquility of discussions. They represent one of the earliest examples of a "restricted traffic zone" in history! Today, the palace houses the Municipal Art Gallery, a small but valuable collection of artworks worth visiting, with paintings ranging from the 14th to the 17th century, including works by Giotto and his school, as well as precious testimonies of the Umbrian school of painting. A little-known fact: in the palace's underground are remains of Roman buildings, evidence of the continuous habitation of this central city location. During some excavations, objects of Roman daily life were also found, now displayed in the city's Archaeological Museum. After concluding the visit, turning left, just a few steps bring you to the classical portico of the Temple of Minerva, a magnificent legacy of Roman Assisi.

Temple of Minerva: The Roman Legacy of Assisi

Here before us is one of the most extraordinary treasures of Assisi: the Temple of Minerva, a jewel of Roman architecture that takes us back over two thousand years. Built in the 1st century BC during the Augustan period, this edifice is one of the best-preserved examples of Roman temples in Italy, particularly with regard to its imposing façade. Take a moment to admire the six fluted Corinthian columns of the façade, nearly 9 meters high, supporting a triangular pediment of perfect proportions. These columns, made of local travertine and later coated with stucco to simulate the finest marble, have withstood two thousand years of earthquakes, wars, and inclement weather. It is fascinating to think that the eyes of Saint Francis must have gazed upon these same columns when the temple was already a thousand years old. The excellent preservation of the façade is due to a curious historical case: in the 6th century AD, when Christianity had become well-established, the pagan temple was converted into a Christian church dedicated to Saint Donatus. This transformation, rather than leading to the building’s destruction as was often the case, ensured its preservation. In the 16th century, the church was rededicated to Santa Maria sopra Minerva, a name it still holds today, in a remarkable example of religious syncretism connecting the goddess of wisdom to the Virgin Mary. An interesting anecdote: when Johann Wolfgang Goethe visited Assisi in 1786, during his famous Italian journey, he was so taken by the beauty of this temple that he called it "the first ancient temple I see whole," dedicating enthusiastic pages to it in his travel diary. Let's now enter inside, where a surprise awaits: contrary to the classical exterior, the interior is entirely Baroque, the result of renovations in the 17th-18th century. This contrast between the pagan exterior and the Christian interior perfectly represents the historical and cultural stratification that characterizes all of Assisi. Notice, on the right wall, a small door that in ancient times allowed access to the Roman cryptoporticus, an underground structure that supported the temple and the forum, still partially visitable. According to popular tradition, these underground passages were used by early Christians to escape persecution. Let’s cross the piazza diagonally and, right next to the Palazzo dei Priori, the slender Torre del Popolo rises, our next stop.

Tower of the People

Next to the Palazzo dei Priori rises the imposing Torre del Popolo, standing about 47 meters tall, which has dominated the skyline of Assisi since the 13th century. Built around 1305, this civic tower was a tangible symbol of municipal power and civic freedom during a time when the height of buildings was directly proportional to the prestige and authority of their owners. The tower boasts a formidable structure, with a square base and walls more than two meters thick, built with the same pink limestone from Mount Subasio that characterizes the historic buildings of Assisi. Upon close inspection, you will notice that the lower part is older and more massive, while the upper part, added later, features a more elaborate design with biforas and Gothic decorations. At the top of the tower was originally placed a large bell, known as the "Campana del Popolo" or "People's Bell," which marked the rhythms of city life: it announced the opening and closing of the city gates, summoned citizens for public assemblies, and rang in times of danger. It is said that in 1310, during a popular uprising against Perugian rule, the bell rang incessantly for three days and nights until the citizens managed to expel the representatives of Perugia and reestablish municipal autonomy. A curious anecdote relates to the guard system: in medieval times, a permanent guard was stationed atop the tower to spot any dangers, such as fires or approaching enemy troops. To ensure he stayed awake during the night shifts, he was required to ring a small bell every hour. If the sound was not heard, other guards would immediately climb up to check, and the penalties for falling asleep on duty were extremely severe! At the base of the tower lies a porch that once hosted the city market and where public executions were also held. Under the porch, you can still see some ancient measuring systems carved into the stone: the "passetto" and the "piede," standard units of measurement used to regulate commercial transactions and resolve potential disputes between merchants and buyers. From this central point in Assisi, we continue our journey ascending to the upper part of the city. We take Via San Rufino, a characteristic medieval street with tower houses and noble palaces that will lead us to the Cathedral of San Rufino, Assisi's cathedral and a place of fundamental importance in the lives of St. Francis and St. Clare, where both were baptized.

Cathedral of San Rufino

Continuing our ascent through the medieval alleys of Assisi, we arrive at the splendid Cathedral of San Rufino, dedicated to the city's patron saint, a bishop martyred in the 3rd century. The Romanesque façade, crafted by Giovanni da Gubbio in 1140, is a true masterpiece with its three richly decorated portals, the central rose window, and the symbolic lions and griffins that seem to guard the entrance. This church holds a special significance in Franciscan history: both Francis and Clare were baptized here, as commemorated by the two baptismal fonts preserved inside. The original font, dating back to the 12th-13th century, is located in the right nave; while in the left nave there is a modern copy placed at the exact spot where, according to tradition, the baptism of the two saints took place. It is moving to consider that in this very place, in 1182 and 1194, the names of two children destined to change the history of Western spirituality were pronounced. Upon entering, we immediately notice how the interior, unlike the Romanesque façade, was completely remodeled in the Baroque style during the 16th-17th century. The three naves are defined by imposing columns, and light filters through the large windows creating a solemn atmosphere. In the right transept, do not miss admiring the Madonna del Popolo, a 13th-century panel much venerated by the people of Assisi, in front of which Saint Francis is traditionally said to have often prayed. An interesting detail: if you pay attention, you will notice that the floor of the central nave is slightly inclined toward the entrance. This is not due to structural subsidence, but rather a deliberate architectural choice to facilitate the cleaning of the church: water could be poured from the altar and it would naturally flow toward the exit! Beneath the cathedral lies the crypt, which houses the remains of the primitive early Christian building and the relics of San Rufino. Adjacent to the cathedral stands the Diocesan Museum, which holds valuable works of art, including paintings by Perugino and from the school of Giotto. Now, let's catch our breath as we descend Via Portica and then Via San Francesco; in ten minutes we will reach the luminous Upper Square of the Basilica of Saint Francis.

Upper Square of San Francesco

Continuing our journey through the maze of medieval streets, we arrive at the Upper Piazza of St. Francis, a large space that opens like a natural balcony over the valley below. This location is one of the most picturesque viewpoints in Assisi, offering a breathtaking view that stretches from the Umbrian valley to the Martani mountains and, on the clearest days, to the Sibillini mountains. The square is located in front of the upper entrance of the Basilica of St. Francis and is characterized by a large green lawn surrounded by a low limestone wall, ideal for sitting and contemplating the landscape. It's not difficult to see why this place, on the edge of the medieval city and overlooking nature, was chosen to build the basilica dedicated to the saint, who saw the purest reflection of divine creation in nature. An interesting anecdote relates to the choice of site for the basilica's construction: this area of Assisi was known in the Middle Ages as the "Hill of Hell," as it was where executions were carried out and criminals were buried. It was Francis himself who expressed the desire to be buried here, in a gesture of extreme humility. After his canonization, which occurred just two years after his death, the hill was renamed the "Hill of Paradise," in one of those symbolic reversals so beloved by Franciscan spirituality. From this piazza, one can observe the architectural structure of the Basilica, with its two overlapping churches (Lower and Upper) and the imposing bell tower. The decision to build two churches one above the other was dictated both by the sloping terrain and by the desire to create two distinct spaces: one more intimate and mystical (the Lower Basilica) and one more luminous and majestic (the Upper Basilica). It is interesting to note how the position of the basilica, outside the city walls of the time, also reflected Francis' position concerning the Church of his time: both within and outside simultaneously, faithful to the institution yet bearing a revolutionary message. The piazza has a particular acoustics, probably due to its semicircular structure open to the valley, making it ideal for musical events. It is not uncommon, especially on summer evenings, to attend concerts of sacred or medieval music, creating a truly magical atmosphere. A curious detail: if you look closely at the lawn of the piazza, you will notice it is dotted with small roses. According to local tradition, these roses are descendants of those planted by Francis himself in the garden of his father's house and miraculously bloom all year round, even in winter months. Having enjoyed this extraordinary panorama, we now head towards the final stop on our itinerary: the Rocca Maggiore, the imposing medieval fortress that dominates Assisi from atop the hill.

Church of Santa Maria Maggiore - Sanctuary of the Stripping

In the heart of Assisi, nestled on the slope of Mount Subasio, stands the Church of Santa Maria Maggiore, now known as the Sanctuary of the Renunciation. The church rises in Piazza del Vescovado, in front of the sixteenth-century Fountain of the Lions, in a place steeped in history and spirituality. This building dates back to the 11th-12th century and encompasses centuries of history, representing one of the most significant points in Saint Francis’s spiritual journey. It was once the cathedral of Assisi until 1036 and has ancient roots: it was built on paleochristian structures which in turn were erected over a Roman domus, the so-called "house of Propertius." The name "Sanctuary of the Renunciation" stems from a crucial event in the life of Saint Francis of Assisi. According to tradition, it was in this very place that Francis publicly stripped off his clothes and material possessions in front of Bishop Guido and his father Pietro di Bernardone, renouncing all earthly riches to embrace a life of poverty and dedication to God. By decree on December 25, 2016, Bishop Domenico Sorrentino established this site as the Sanctuary of the Renunciation, commemorating Saint Francis’s famous and striking gesture, which took place near the church. Today, this location holds dual significance for pilgrims: on one hand, it preserves the memory of the radical act by which Francis renounced earthly goods, and on the other, it hosts the tomb of Blessed Carlo Acutis, the young "saint of the millennials." Deeply devoted to the Eucharist, Carlo is known for creating a virtual exhibition on Eucharistic miracles around the world. His body rests in a glass shrine in the right nave of the church, dressed in casual clothes, symbolizing his everyday life and connection to young people. On October 10, 2020, Carlo was beatified in Assisi, and his tomb has become a place of pilgrimage for thousands of the faithful.

Rocca Maggiore Castle

We conclude our itinerary of discovering Assisi with a climb to the Rocca Maggiore, the imposing medieval fortress that dominates the city from its height of 505 meters. To reach it, we ascend through narrow medieval streets to the northern gate of the walls, from where a panoramic path leads us to the fortress's entrance. The Rocca Maggiore is one of the best-preserved examples of medieval military architecture in Umbria. Its origins date back to 1174 when it was built at the behest of Emperor Frederick Barbarossa. However, its current appearance results from numerous expansions and renovations, particularly those carried out in the 14th century by Cardinal Albornoz, who transformed it into a bastion of papal power in Umbria. Crossing the entrance portal, we find ourselves in the inner courtyard, surrounded by mighty crenellated walls. From here, we can begin exploring the various areas: the casemates where soldiers were quartered, the prisons with graffiti left by the prisoners, and the walkways where sentinels kept watch over the surrounding territory. Particularly evocative is the climb to the main tower, which is 24 meters high, offering a 360-degree view stretching from the entire Umbrian valley to the Apennine mountains. A curious anecdote binds the Rocca to the history of Saint Francis: it is said that young Francis, during the war between Assisi and Perugia in 1202, was made a prisoner and spent about a year in Perugian jails. This experience of imprisonment was crucial in his path of conversion, making him understand the vanity of worldly ambitions. Ironically, from the Rocca, a symbol of the military power that Francis would later repudiate, one can admire the entire city that bears his name and which his persona transformed from a fortress city to a city of peace. The Rocca has been the stage of numerous historical events: sieges, battles, conspiracies. One of the most fascinating stories concerns the so-called "noble conspiracy" of 1442 when some Assisian aristocrats, weary of papal rule, organized a revolt. The plot was discovered thanks to a maid who, having eavesdropped on the conspirators' plans, warned the castellan. The woman was rewarded with a marriage dowry, while the conspirators were hanged right from the fortress walls. During your visit, do not miss exploring the Polygonal Tower, connected to the main body of the Rocca by a long covered walkway of about 20 meters. This tower, built in the 16th century, represents an evolution in military architecture in response to the introduction of firearms: its polygonal shape was designed to deflect cannon shots. As the sun begins to set over the Umbrian valley, tinting the city's stones with a rosy hue, we conclude our journey through Assisi. From the Rocca Maggiore, we can visually trace all the stages of our route: the Basilica of Saint Clare, the Piazza del Comune with the Temple of Minerva, the Cathedral of Saint Rufino, the Chiesa Nuova, and the majestic Basilica of Saint Francis. A journey through centuries of history, art, and spirituality, following in the footsteps of a man who, eight centuries ago, revolutionized the very concept of sanctity.