Convento di San Bernardino Sinalunga

The Cathedral of Saint Biagio dates back to the XIIth century, but it was reconstructed in 1580 and it was consecrated again by the Bishop of Pienza Francesco Maria Piccolomini in 1583. The church was further enlarged and it was almost totally reconstructed from 1667 to 1669. The structure has a rectangular plan, surmounted by cross vaults with ribs. The presbytery area stands a step higher and it hosts the altar reconstructed in 1826 ( but the precious XVIIth century tabernacle made of polychromous marbles comes from the Cathedral of Pienza). The presbytery also hosts a rich wooden choir , dated 1717. Behind them unfolds the late XVIIth century concave canvas , where the episode of Anania and Zaffira punished by Saint Peter for their avidity is depicted. Almost all of the monumental altars, referable to the activity of the Cremoni family, originally from the Ticino area, but very active in Siena at the beginning of the XVIIth century, host altarpieces of remarkable quality .The first, on the right, represents the Immaculate Conception with four Saints and it has been surely painted by the Florentine Domenico Cresti, nicknamed Passignano (1560 – 1636), distinguished by his diligent and calm style, enriched by a lighting technique characteristic of Venetian figurative culture. The canvas on the second altar on the right , also by Passignano, represents a Sacred Conversation, where the commissioner is represented, and in the company of other Saints, Saint Biagio is also depicted. The painting on the first altar on the left is maybe the most suggestive: it represents a Madonna with Child with Saint Lawrence, Saint Anthony Abbott, Saint Ursula and an Apostle, all gently touched by a soft light that enhances the rich texture of the clothes of the characters. The author is unknown, but it can easily be enclosed among the most talented Tuscan artists of early XVIIth century. An altarpiece by Santi di Tito (1536 -1603) is located on the second altar on the left : it represents a Lamentation on the Dead Christ with Saint Francis. The artist through the recovery of the “natural”, discovers again the early XVIth century Florentine style . An early 19th century canvas, by Nicola Monti, representing a Miracle by Saint Biagio, concludes the most considerable figurative collection of this largely decorated Cathedral.