Chiesa di San Jacopo al Tempio

The church of San Jacopo al Tempio is a Romanesque church that already existed in the early 13th century. In 1250, the church, which was initially outside the city walls, was included in the second circle of the city walls, at the San Jacopo gate. The church then belonged to the Hospitallers (1311), then was given to the hospital of the Church of the Holy Sepulchre in Pisa (1576), before belonging again to the Hospitallers of San Gimignano (1599). The present church owes much to a renovation begun in 1942.

About this building

Key Features

  • Architecture
  • Monuments

Visitors information

  • Bus stop within 100m
  • Parking within 250m
  • Café within 500m

Other nearby buildings

Wikimedia Commons/Mongolo1984

Chiesa di Sant'Agostino

The church of Sant'Agostino is the second largest church in San Gimignano after the collegiate church. It was built in 1280 and completed in 1298. The church has features derived from Romanesque and Gothic architecture, with tri-lobed arch windows and an Augustinian cloister dating from the 15th century.

Wikimedia Commons

San Gimignano Cathedral

The collegiate basilica of Santa Maria Assunta, also known as the Cathedral of San Gimignano, is said to have been erected in 1056 and consecrated in 1148. In 1239 the church underwent a renovation that gave it its characteristic façade. During the Second World War, the church and its frescoes suffered considerable damage, which was repaired by repeated restoration campaigns.

Wikimedia Commons/Vignaccia76

Chiesa di San Lorenzo al Ponte

The church of San Lorenzo al Ponte dates from the mid-13th century. It is Romanesque and consists of a single nave covered by a wooden truss roof, with a vaulted presbytery. From the beginning of the 14th century, it had a small portico on the left side, or perhaps a simple roof, to protect the fresco of the Virgin and Child from the weather. It was precisely because of the popular devotion to this sacred image that it was decided, at the beginning of the 15th century, to build or extend the portico over the whole side of the church, thus forming a real oratory next to it. Both the church and the portico were extensively frescoed at the beginning of the second decade of the 15th century by the Florentine painter Cenni di Francesco di ser Cenni.