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The Crucifix of Castelvecchio takes its name from one of the three parts of the city of San Miniato.

Castelvecchio, as the name suggests, was probably the oldest part of the fortified city.

The Crucifix is a small wooden sculpture representing Christus patiens (the suffering Christ), with closed eyes, a bowed head marked by thick streams of blood, and numerous wounds spread across the rigid body. These features emphasize suffering.

Because of these characteristics, the Crucifix has been linked to Northern European art, particularly Germanic art, and experts believe that its unknown creator was a German craftsman active in the Lower Valdarno region in the early 14th century.

The legend of the Crucifix’s discovery dates back to an uncertain period, probably between the late 17th and early 18th centuries.

In 1755, Bernardo Morali, a member of the “Opera del Santissimo Crocifisso”, wrote a document addressed to Bishop Domenico Poltri, who had succeeded Giuseppe Suares de la Concha a bishop deeply devoted to the Crucifix.

Morali’s work contains the first written version of the legend. It tells of two travelers who arrived at a widow’s house and asked her to keep a sealed box for them, promising to return for it. However, they never came back.

The widow noticed that every evening at sunset, rays of light shone through the cracks of the box. Thinking it contained precious gems, she was intrigued. However, feeling deeply moved by the light, she decided to take the box to the parish priests. When they opened it, they found the Crucifix inside.

The legend was also retold in 1863 by the scholar Giuseppe Conti in his book The History of the Crucifix. Over time, popular tradition transformed the two travelers into angels. However, Conti believed they were actually relatives of Florentine nobles who had been imprisoned by Emperor Frederick II in the fortress of San Miniato after the Battle of Capraia in 1248. According to this theory, the Crucifix was discovered at that time.

Today, the venerated Crucifix of Castelvecchio is kept in the tabernacle of the main altar, concealed behind a 16th-century painting of the Risen Christ by Francesco d’Agnolo Lanfranchi. Every year, solemn celebrations are held in its honor, and the Crucifix is unveiled and displayed during the last week of October.

Edited by Professor Ejvis Gjata and Class 5A Tourism, IT Cattaneo Technical Institute, San Miniato.

At the beginning, the Crucifix was placed in the chapel of the parish church of Santa Maria Assunta and San Genesio (today the chapel of San Miniato). Then, in 1378, the parish church was assigned to military use as a depot, and so, between 1378 and 1399, the Crucifix was transferred to the church of Saints Giusto and Clemente, which no longer exists today.

In 1399, the Crucifix was carried in procession to Siena, Colle Val d'Elsa, San Gimignano, Volterra, Florence, Prato, Pistoia, Pescia, Lucca and Pisa. Along the way, numerous extraordinary events and miraculous healings were reported.

After the Crucifix returned to San Miniato, precisely because of the prodigious events that had occurred, it was decided to place it inside the Priors' Palace, which is now the seat of the Municipality of San Miniato.

The turning point in the history of the Crucifix came in the 17th century, when two very important events took place: in 1622, San Miniato became a bishopric with the approval of Pope Gregory XV, and in 1630, during the plague, San Miniato was only marginally affected by the contagion. The citizens believed that this miracle was due to the protection of the Crucifix, and for this reason the Opera decided it was appropriate to dedicate an exclusive place of worship to it. In 1692, one hundred scudi were assigned for this purpose.

Nevertheless, the works were continually postponed. Although the Opera had considerable wealth, these funds were mainly used for welfare and educational activities, and it was not intended to devote them entirely to the construction of the new church. Therefore, the project was delayed until 1704.

It was the new bishop, Giovanni Francesco Maria Poggi, who took charge of the construction, making use of his closeness to Grand Duke Cosimo III de' Medici. The bishop commissioned the architect Antonio Ferri to design the church. Ferri produced two projects: one with an octagonal plan and one with a Greek cross plan. Poggi chose the latter. The church, with its Greek cross plan and dome, was externally simple, decorated with pilaster strips (fake pillars slightly projecting from the wall), framing the main entrance and marking the ends of the church.

The richer interior decoration was entrusted to the Florentine painter Antonio Domenico Bamberini, who created a true “illustrated Bible.” The choice of location was not accidental: the church of the Holy Crucifix was built opposite the symbol of civic power and in a prominent elevated position. In this way, it moved from the place of political government of the city to stand in the shadow of the cathedral and the bishop’s palace. The new church was consecrated on 3 May 1729 by Poggi’s successor, Monsignor Cattani.

In 1750, the church was equipped with an organ, while the high altar in fine marble dates back to 1824. In 1844, six terracotta statues were placed in the sanctuary, created by the sculptor Luigi Pampaloni: the four evangelists in niches at the base of the dome, and two angels on the staircase. In 1867, the marble statue of the Risen Christ by Francesco Baratta, dating from the early 18th century, was added and placed in the central niche of the staircase.

In 1888, the statues of the apostles Peter and Paul were installed at the bottom of the staircase. Starting in 1988, the entire sanctuary underwent careful restoration work. The exterior of the building and the staircase were also restored in a more recent project, completed in 2021.

Edited by Professor Ejvis Gjata and Class 5A Tourism, IT Cattaneo Technical Institute, San Miniato.

Antonio Maria Ferri, an architect whose brilliance flourished at the dawn of the 18th century, left an indelible mark on Tuscany. A vital presence at the Medici court under Grand Duke Cosimo III, Ferri also shaped the architectural landscape in numerous Tuscan cities. His close collaboration with Bishop Giovanni Francesco Maria Poggi was pivotal in the design and construction of the Sanctuary of the Most Holy Crucifix. It was Ferri’s ingenious use of the "ciglione" site—a sloping hill—where the new church would rise, that truly elevated the sanctuary’s impact. With a grand, sweeping staircase, he amplified the Baroque spectacle of the space, drawing the eye upward in a dynamic embrace of architecture and landscape.

This staircase isn’t just a physical feature; it’s a multi-layered work of art. Formally, it bridges the city and the church, creating a seamless visual connection between the secular and the sacred. Symbolically, it serves as a vivid Via Crucis, echoing the Passion of Christ—a powerful Catholic prayer commemorating Jesus' final journey to crucifixion. From an evangelical perspective, the staircase becomes the "royal road" described by Saint Augustine, a path that links the "City of Man" to the "City of God."

As visitors ascend this magnificent staircase, they are greeted by statues of angels (once holding trumpets, a nod to the Last Judgment), a grand temple gate, and depictions of the Four Evangelists. Above all this rises the church's dome, crowned by a radiant lantern. The staircase itself is nothing short of theatrical—akin to a stage, it mirrors the dramatic architecture used in religious ceremonies and funerary displays of the time. The façade of the church becomes a grand proscenium, setting the stage for a divine performance, where the journey through the church offers a stunning interplay between real and illusory space, both inside and out.

Historical records tell us that the entire space leading up to the church was meticulously adorned. A continuous loggia, draped in luxurious fabrics, linked the church to the city, enriching the processions that wound their way between the two. The shimmering silk not only created breathtaking lighting effects but also cleverly concealed the surrounding hedges and vegetation, heightening the sense of grandeur. The ultimate crescendo of this spectacular setting was the church itself—a living backdrop for the sacred liturgy. As music and chants filled the air, the emotional power of this sacred journey reached its zenith.

Edited by Professor Angela De Gaetano and Class 5B Tourism, IT Cattaneo Technical Institute, San Miniato.

The most relevant artwork of the Florentine painter Antonio Domenico Bamberini is surely the cycle of frescoes of the Sanctuary of the SS. Crocifisso of San Miniato.  Despite his numerous works, Bamberini is a little known author, and most of the information that we have about him comes from 17th century sources. 

Bamberini was born in 1666, after his first apprenticeship with Simone Pignoni, he left for an important formative journey to Rome. However, his studies happened mainly in the environment of the Florentine Baroque painting style. 

The first artwork documented of Bamberini is a tabernacle with “La Madonna col Bambino e i santi Pietro e Paolo” in Ottaviani’s square in Florence.  Bamberini worked with Pier Dandini on several sacred decorations between the first and second decades of the 18th century. His bond with Dandini brought him into the circle of artists who worked for the Medici family, consolidating his fame among the decorators of the time.

In 1712, Bamberini was one of the artists called by Antonio Maria Ferri, the Florentine architect, to decorate San Lorenzo for the Pope Pio’s 5th blessing. Thanks to his decorative ability, Ferri recommended him to the bishop of San Miniato Giovanni Francesco Maria Poggi, who involved him in the renovation works of the cathedral. 

In 1771, the decoration of the Santuario del SS. Crocifisso began, where he worked for several years in the composition of the scenes, the influences of Ferri are evident, who, in turn, followed the directives of bishop Poggi. The interior of the church is scenic and sumptuous, rich in theatrical and illusionistic effects, contrasting with the essential simpleness of the exterior. 

As a decorator and fresco painter, Bamberini worked in 1719 at the company of San Giovanni Battista in Fucecchio, at the Pieve di Marti, and in the Church of San Michele Arcangelo in Pescia. However, his most significant work was in San Miniato, where he decorated the ceiling of the cathedral, the Church of Santi Jacopo e Lucia - also known as “San Domenico” -, and painted The “Incoronazione della Vergine” in the Church of SS. Annunziata. He also worked on the decoration of the new theater of the Seminary, but this work has not survived due to later renovations.

The decorations and canvases of Bamberini are present in the church of Santa Cristina in Santa Croce Sull’Arno, in the church of the Congregation of the maidens of SS. Trinità in Florence - the so-called Mansion “La Quiete", in the churches of santa Maria a Monte and Terricciola.

Bamberini kept working till his death, which happened in 1741, while he was working in the burgh of Gramugnana, near Lari.  

Edited by Professor Ejvis Gjata and Class 5A Tourism, IT Cattaneo Technical Institute, San Miniato.

The Iconographic Program of the Church of the Holy Crucifix offers a quite unusual visual feast, unlike any other. With nearly every inch of the interior covered in frescoes, this church stands as a masterpiece of sacred decoration.

From the dome to the walls, every surface tells a story—one united theme that speaks to the redemption of humanity, through the crucifixion of Jesus Christ. And all of this was executed by a single hand—Antonio Domenico Bamberini—between 1717 and 1724.

The grandeur of the interior of the church feels almost theatrical, like a stage set for a divine performance. The frescoes, rich in Baroque flair, were not just decorative but designed to convey complex theological and liturgical concepts to all who entered— both the learned and illiterate alike.

For many, the centerpiece was the miraculous wooden Crucifix, which the church was specifically designed to protect and exalt. Bishop Giovanni Francesco Maria Poggi, the driving force behind the iconographic scheme, aimed to create a space that reflected the Baroque ideals that had taken Florence by storm.

This was a time when churches across the city were transformed into dramatic expressions of the triumphant power of the Church. In San Miniato, this vision was brought to life in the form of vibrant frescoes depicting characters and events from both the Old and New Testaments.

These images, rendered in full color and monochrome, offer a vivid journey through divine history—from the mighty prophets of the Old Testament to the life of Christ.

The frescoes are framed by four large arches, each depicting scenes from the Stations of the Cross, while allegories of Christ’s virtues—Patience, Humility, Charity, and Obedience—gild the space.

The walls of the church echo with the stories of Jesus’ life, from his humble birth to his triumphant ascension, all centred around the church’s most sacred relic: the miraculous Crucifix.

The decoration scheme was completed with two canvases, one depicting the Passing of Saint Joseph (by Giovanni Antonio Pucci 1730s) and the other, the Immaculate Conception of Mary and Saints (Giovanbattista Luchini 1700s). These were the finishing touches to a vast artistic and spiritual program that continues to captivate visitors today.

Edited by Professor Ejvis Gjata and Class 5A Tourism, IT Cattaneo Technical Institute, San Miniato.

Step inside and let your eyes wander to the sides of the main altar, where two powerful moments from Christ’s life unfold in striking monochrome frescoes. These paintings, done in black and white to mimic the elegance of ancient marble reliefs, are framed by elaborate, curving borders—so intricate they’re called “mixtilinear.” Hanging from the walls, garlands of flowers and fruit seem almost real, as if left behind after a grand celebration. But beyond their beauty, these scenes invite to deeper reflection. Each one is accompanied by a Latin inscription, offering those who could read it a key to unlocking the profound theological messages hidden within.

Among the six episodes depicted in the church, we focus on two:

The first is The Washing of the Feet, captured with all its dramatic tension. The Gospel of John describes the scene in detail: during the Last Supper, Jesus kneels before His disciples, humbly washing their feet. The first to be served, Peter, hesitates—how could his Master, the Son of God, perform such a lowly act? But Jesus reassures him, explaining the lesson of humility and service, a gesture He commands His apostles to carry on after He is gone.

In Bamberini’s fresco, Christ kneels gracefully, surrounded by apostles whose faces radiate shock and wonder. They sit in a vast, majestic hall, enclosed by imposing arches and classical columns. In the background, two silent figures prepare the supper, oblivious to the profound moment unfolding before them. One mysterious figure peeks out from behind an apostle (perhaps John?) who holds a pitcher of water. With an outstretched hand, this onlooker seems to turn toward us, pulling us into the moment, sharing their astonishment.

To drive home the deeper meaning, a Latin inscription below reads:
"A noble example of Christ’s humility and the purification granted to us."

Directly opposite this scene, another fresco captures a lesser-seen variation of the Last Supper: The Communion of the Apostles. Here, Christ stands, breaking bread and offering it to His disciples. The hesitation of the previous scene is gone—now, the apostles kneel or stand in reverence, fully embracing the divine mystery before them.

Well, almost all of them. At the far left of the painting, Judas slips away. He turns his back to Jesus, but his gaze meets ours, his face shadowed by uncertainty. Clutched in his hand, barely visible, is the small bag of silver—the miserable price of betrayal.

In the background, classical Roman architecture looms—barrel vaults, decorated ceilings, towering pilasters—a subtle reminder of the historical setting in which this sacred drama unfolded.

The inscription below reinforces the powerful message:
"The work of the Savior’s love and His extraordinary mercy toward humankind."

This choice to depict not just the Last Supper, but the very moment Jesus instituted the Eucharist, carries profound significance. It emphasizes the central role of the priest, who continues Christ’s sacred act each time Mass is celebrated. Bishop Poggi, the mastermind behind the church’s grand fresco cycle, was making a statement: his role—like that of all bishops—was to safeguard the liturgy, just as Peter, Christ’s chosen leader, had done before him. It’s no coincidence that Peter takes centre stage in the Washing of the Feet scene.

Edited by Professor Angela De Gaetano and Class 5B Tourism, IT Cattaneo Technical Institute, San Miniato.

Now, tilt your head back and let your gaze rise to the magnificent dome, where an electrifying scene unfolds: a swirling vortex of saints and angels ascends into the heavens. Among them, one angel unfurls a banner reading: "Returned from whence He came." The eye is drawn ever upward, following their motion, until it reaches the summit—where Christ Himself appears, ascending to the Father.

He stands radiant, arms lifted in a gesture both solemn and triumphant. The sky brightens at His touch, and a golden light cascades over the figures below, illuminating them with the glow of divine glory.

Bamberini, the artist behind this celestial masterpiece, was celebrated for his dazzling architectural illusions and elegant decorations. But he was also known for his speed—he could cover vast surfaces with astonishing efficiency, sometimes at the cost of repeating certain compositions. Yet here, his work is anything but formulaic. It embodies the late 17th-century Florentine ideal of sacred art—designed not just to be admired, but to evoke awe, stir the heart, and immerse the faithful in a deeply emotional experience.

This is no mere decoration. It is a sacred theater, a visual sermon that speaks to both the learned and the common worshipper. Bishop Poggi, with his keen vision, entrusted Bamberini with this monumental task—to transform the walls and ceilings of this church into a permanent, grand stage, where the most profound mysteries of faith would be told, over and over again, in a language of beauty, wonder, and devotion.

Edited by Professor Angela De Gaetano and Class 5B Tourism, IT Cattaneo Technical Institute, San Miniato.