Museo: La Città e la Basilica Papale di Assisi

Papal Basilica and Sacred Convent of St. Francis in Assisi

Welcome, dear pilgrims, to the Papal Basilica and the Sacred Convent of St. Francis in Assisi, one of the most sacred places in Christianity. As you prepare to cross these blessed thresholds, you are about to embark on a journey that is not only physical but deeply spiritual. It is said that when Francis died on October 3, 1226, the sky itself wept at his passing. Two years later, the little man of Assisi was canonized, and the day after, Pope Gregory IX laid the first stone of this marvelous basilica. Who would have thought that humble Francis, who embraced "Lady Poverty," would be honored with such a magnificent sanctuary? This basilica is like a Bible of stone and color. Every fresco, every chapel, every corner tells the extraordinary life of a man who chose to abandon all wealth to follow Christ in his nudity and simplicity. When Francis heard the voice of the Crucifix of San Damiano saying to him, "Go and repair my house," he certainly could not have imagined that he would renew the entire Church of God.

Lower Piazza

Welcome to the lower piazza of the Basilica of Saint Francis. Here, where you now stand, pilgrims from around the world pause in silence before crossing the threshold of this sacred place. Take a moment to breathe deeply and prepare yourself for the spiritual encounter that awaits you. Remember that at any point during your visit, you can activate the virtual tour guide powered by artificial intelligence for personalized insights. This piazza is much more than a mere architectural space: it is a spiritual vestibule that prepares the soul for an encounter with the Saint. Francis was born in 1182 in Assisi to a wealthy family but abandoned all wealth to follow Christ in poverty. The choice to build this basilica on what was called the "Hill of Hell" - a site of public executions - was not accidental. Pope Gregory IX wished to transform a place of death into one of eternal hope. It is said that during the construction of the basilica, a young mason fell from the scaffolding. While everyone believed him to be dead, Saint Francis appeared in a vision, supporting him during the fall. The young man rose unscathed, recounting that he had been gently laid on the ground by the Saint's hands. Since then, many pilgrims in difficulty pause here, seeking the same protection.

Facade of the Lower Basilica

Here we are now in front of the facade of the Lower Basilica, featuring its imposing Romanesque portal. Notice the simplicity of the architectural lines, which starkly contrast with the artistic opulence you will find inside. This external simplicity is not an unfinished aspect but a deliberate symbolic choice reflecting the humility of Francis. The portal, with its round arch, invites you to slightly bow your head as you enter, a physical gesture reflecting the spiritual attitude of humility necessary to approach the Franciscan message. The facade is made of pink stone from Mount Subasio, the same mountain that overlooks Assisi. This choice represents the harmony between divine creation and human work, a central theme in Francis's spirituality, who praised God through natural elements in his Canticle of the Creatures. The two lateral pilasters and the upper cornice frame the portal, creating an effect of simple elegance.

Lower Basilica

As you enter the Lower Basilica, let your eyes adjust to the dim light. This cozy space, with its low ceiling and cross vaults, creates an atmosphere of intimate devotion. Here, within these walls, the body of Saint Francis rested for two years, from 1230 to 1232, before being permanently moved to the crypt below. Imagine the early friars who silently watched over the body of their beloved founder in this same space where you now stand. The walls and vaults are entirely frescoed by some of the greatest masters of the Middle Ages: Giotto, Cimabue, Simone Martini, and Pietro Lorenzetti. These frescoes are not mere decorations, but true visual catechisms narrating the lives of Christ and Saint Francis, placing them in parallel. Look to your right at the Chapel of Saint Martin, where Simone Martini painted the life of the saintly bishop who shared his cloak with a poor man – a gesture of charity that echoes Franciscan spirituality.

Crypt of St. Francis

We now descend into the crypt, the true beating heart of the entire basilica. This octagonal space houses the mortal remains of St. Francis, rediscovered after centuries of searching on December 12, 1818. The silence here is different, deeper, almost palpable. It is not a silence of absence, but of intense presence. Millions of pilgrims before you have paused in prayer in this same place, creating an invisible current of devotion that spans the centuries. The tomb is simple: a rough stone enclosed in a metal cage. This simplicity perfectly reflects the spirit of Francis, who chose poverty as his bride. Above the altar, an eternal oil lamp burns, fueled by oil donated in rotation by the Italian regions, symbolizing the light of Christ that Francis brought into the world. Surrounding the central tomb are also the graves of the Saint's first four followers: Brother Leo, Brother Masseo, Brother Rufino, and Brother Angelo.

Chapel of Saint Catherine

The Chapel of Saint Catherine, where we are now, is closely linked to one of the most transformative episodes in the life of Saint Francis. This small chapel symbolically represents the little church of San Damiano which is located outside the walls of Assisi. It was right in front of the crucifix of San Damiano that the young Francis, still at the beginning of his spiritual journey, heard the voice of Christ telling him: "Francis, go and repair my house, which, as you see, is all in ruins." Initially, Francis interpreted these words in a literal sense, dedicating himself to physically repairing the small ruined church, but soon he understood that the Lord was asking him to spiritually renew the entire universal Church. The frescoes decorating this chapel, works by artists of the 14th-century Umbrian school, illustrate scenes from the life of Saint Catherine of Alexandria and other saints. Pay close attention to the scene of Saint Catherine's martyrdom: just as she remained faithful to Christ until death, so Francis remained faithful to his calling despite misunderstandings and difficulties.

Chapel of Saint Nicholas

We now enter the Chapel of Saint Nicholas, a devotional space of extraordinary spiritual beauty. This chapel, located in the right nave of the Lower Basilica, is entirely decorated with a cycle of frescoes dedicated to the life of Saint Nicholas of Bari, attributed to Giotto and his workshop, created around 1300. Saint Nicholas was particularly revered by medieval pilgrims who considered him a powerful protector during journeys, much like you who are undertaking this spiritual path today. The frescoes narrate significant episodes from the saint's life: observe on the left wall the scene where Saint Nicholas gives three gold balls to three poor maidens, saving them from prostitution. This act of tangible charity deeply resonates with the Franciscan teaching of caring for the needy. On the opposite wall, you can admire the miracle of the sailors' salvation during a storm, a symbol of divine protection in times of danger.

Right Transept

We are now in the right transept of the Lower Basilica, a crucial space for understanding how the figure of Francis was immediately perceived as a saint by the Christian people. Look up towards the walls and vaults: here, Giotto and his collaborators created, between 1305 and 1311, a cycle of frescoes that narrate the posthumous miracles of Saint Francis. These miracles, which occurred soon after the Saint's death in 1226, formed the documentary basis for his rapid canonization, which took place just two years later, in 1228, by the will of Pope Gregory IX. Pay close attention to the fresco depicting the healing of the child from Suessa: a child falls from a window and dies, but the mother, with unwavering faith, entrusts him to the intercession of Saint Francis and the child is miraculously brought back to life. Note the emotional intensity of the scene, the initial despair, and the joy of the miracle, masterfully rendered by Giotto through the gestures and expressions of the characters.

Chapel of the Magdalene

Here we are at the Chapel of the Magdalene, a place of particular spiritual intensity in the Lower Basilica. This chapel, commissioned by the Orsini family around 1300, is dedicated to Saint Mary Magdalene, a figure of extraordinary importance in Christian spirituality. Like Francis, Mary Magdalene abandoned her previous life to unconditionally follow Christ, becoming a symbol of radical conversion and passionate love for the Lord. The frescoes decorating the chapel are attributed to Giotto and his school. Observe on the right wall the scene of Noli me tangere, the moment when the resurrected Christ appears to Magdalene in the garden of the tomb. The intensity of this encounter is wonderfully rendered by the artist: the restrained gesture of Jesus and the loving eagerness of Magdalene create an emotional tension that speaks directly to the heart of the pilgrim. On the opposite wall, the fresco depicts the penitent Magdalene in the cave of Sainte-Baume in Provence, where according to tradition, she spent the last thirty years of her life in prayer and contemplation.

Stairway to the Upper Basilica

Let's pause for a moment in front of this staircase that leads from the Lower Basilica to the Upper Basilica. It is not merely an architectural element connecting two spaces, but a symbolic journey inviting the pilgrim to a spiritual ascension. The staircase, with its stone steps worn by centuries of devout footsteps, represents the soul's journey from earthly realities to heavenly ones, from humility to glory, from darkness to light. The architect who designed this staircase, Brother Filippo da Campello, faithfully followed the Franciscan vision of the spiritual path as a progressive elevation toward God. The steps, initially steep and narrow, become gentler as one ascends, symbolizing how the spiritual path, difficult at the start, becomes easier with perseverance. Notice how the light increases gradually during the ascent: it is a reference to the passage from the "darkness" of human condition to the "light" of divine vision.

Upper Basilica

As you enter the Upper Basilica, allow yourself to be enveloped in wonder. The luminous and soaring space around you offers a true vision of Heaven on earth. Built between 1228 and 1253 at the behest of Pope Gregory IX and completed under Innocent IV, this church fully expresses the heavenly triumph of Saint Francis, canonized just two years after his death. The light filtering through the large stained glass windows, the deep blue of the starry vaults, the architectural harmony of the proportions: everything here speaks of a soul that has found its full communion with God. The walls of the nave are entirely decorated with the famous cycle of 28 frescoes depicting the life of Saint Francis, a masterpiece by Giotto and his workshop, created between 1295 and 1300. These frescoes represent the first "biography through images" in the history of Western art. Walk slowly along the nave, from right to left: the episodes start with the young Francis being honored by the simple man laying his cloak at his feet, continuing with the donation of clothes to the poor knight, the calling in the little church of San Damiano, the renunciation of earthly goods before the bishop, and culminating in his death and posthumous miracles.

Wooden Choir

We are now standing before the magnificent wooden choir of the Upper Basilica, a work of art and daily prayer space for the Franciscan friars. Created between 1491 and 1501 by Domenico Indivini from Sanseverino, this masterpiece of cabinetry is one of the most precious examples of Renaissance wooden inlay in Italy. The friars gather here several times a day for the Liturgy of the Hours, continuing an uninterrupted tradition of prayer that dates back to the times of Saint Francis himself. Pay close attention to the choir stalls: each seat is a work of art in itself, with finely inlaid backrests depicting geometric patterns, plant elements, and figures of saints. The quality of the inlay is such that the images almost appear painted rather than composed of different types of wood. At the center of the choir is the choir lectern, where the antiphonary from which the friars sang during celebrations was placed. The seats are arranged in two parallel rows so that the friars can sing alternately, creating that spiritual dialogue which is the essence of communal prayer.