Basilica of San Francesco in Siena: Gothic and Miracle

Entering the Basilica of San Francesco in Siena means immersing yourself in an atmosphere of spirituality and Gothic art. The single nave, exposed trusses, and white and green marble bands welcome you with a striking sobriety. But it is the Eucharistic miracle of 1730 that makes this place unique: the Sacred Hosts, stolen and found intact after centuries, are preserved in two chapels. An experience that combines faith and history.

Entering the Basilica of San Francesco in Siena means immersing yourself in an atmosphere of spirituality and Gothic art. The single nave, exposed trusses, and white and green marble bands welcome you with a striking sobriety. But it is the Eucharistic miracle of 1730 that makes this place unique: the Sacred Hosts, stolen and found intact after centuries, are preserved in two chapels. An experience that combines faith and history.

The Franciscans arrived in Siena after the death of Saint Francis (1226). Between 1228 and 1255 they built a first small church, later expanded in Gothic style between 1326 and 1475. A fire in 1655 severely damaged the building, followed by Baroque restorations. The bell tower was added in 1765 to a design by Paolo Posi. Between the late 19th and early 20th centuries, architects Giuseppe Partini, Vittorio Mariani, and Gaetano Ceccarelli redesigned the interiors and façade in Neo-Gothic style. Here are the key moments:

• 1228-1255: first Franciscan church
• 1326-1475: construction of the current Gothic church
• 1655: severe fire
• 1730: theft and recovery of the Sacred Hosts
• 1885-1913: Neo-Gothic restoration

The Franciscans arrived in Siena after the death of Saint Francis (1226). Between 1228 and 1255 they built a first small church, later expanded in Gothic style between 1326 and 1475. A fire in 1655 severely damaged the building, followed by Baroque restorations. The bell tower was added in 1765 to a design by Paolo Posi. Between the late 19th and early 20th centuries, architects Giuseppe Partini, Vittorio Mariani, and Gaetano Ceccarelli redesigned the interiors and façade in Neo-Gothic style. Here are the key moments:

• 1228-1255: first Franciscan church
• 1326-1475: construction of the current Gothic church
• 1655: severe fire
• 1730: theft and recovery of the Sacred Hosts
• 1885-1913: Neo-Gothic restoration

On August 14, 1730, a pyx containing 351 consecrated hosts was stolen from the basilica. Three days later, it was found in the alms box of the Collegiate Church of Santa Maria in Provenzano. The hosts, despite being in precarious hygienic conditions, were kept out of devotion. Thirty years later, upon first opening, they appeared intact. Chemical analyses in 1914 and 2014 confirmed the absence of bacteria and mold, even though unleavened bread normally deteriorates within two years. Today, just over 200 hosts remain, displayed in two chapels depending on the season: the summer chapel (with a floor graffito of the cardinal virtues) and the winter chapel (with a fake polyptych frescoed by Lippo Vanni). On the 17th of each month, a solemn Mass is celebrated with exposition of the miracle.

On August 14, 1730, a pyx containing 351 consecrated hosts was stolen from the basilica. Three days later, it was found in the alms box of the Collegiate Church of Santa Maria in Provenzano. The hosts, despite being in precarious hygienic conditions, were kept out of devotion. Thirty years later, upon first opening, they appeared intact. Chemical analyses in 1914 and 2014 confirmed the absence of bacteria and mold, even though unleavened bread normally deteriorates within two years. Today, just over 200 hosts remain, displayed in two chapels depending on the season: the summer chapel (with a floor graffito of the cardinal virtues) and the winter chapel (with a fake polyptych frescoed by Lippo Vanni). On the 17th of each month, a solemn Mass is celebrated with exposition of the miracle.

The eight chapels in the transept house priceless artistic treasures. Particularly notable are the detached frescoes from the Chapter Hall of the convent: in the second chapel, two works by Ambrogio Lorenzetti (1335-1340) depicting the Martyrdom of six Franciscan friars and Saint Louis of Toulouse taking leave of Pope Boniface VIII. In the fourth, a Crucifixion by Pietro Lorenzetti (1336-1337). In the fifth, a Madonna and Child by Andrea Vanni (1398), blackened by the fire of 1655. Don’t miss the bas-relief of the Assumption of Mary by Giovanni d’Agostino (1340) and the funerary monument of Cristoforo Felici by Urbano da Cortona (1463). Hanging from the nave walls are the banners of all the contrade of Siena, symbolizing the bond with the city.

The eight chapels in the transept house priceless artistic treasures. Particularly notable are the detached frescoes from the Chapter Hall of the convent: in the second chapel, two works by Ambrogio Lorenzetti (1335-1340) depicting the Martyrdom of six Franciscan friars and Saint Louis of Toulouse taking leave of Pope Boniface VIII. In the fourth, a Crucifixion by Pietro Lorenzetti (1336-1337). In the fifth, a Madonna and Child by Andrea Vanni (1398), blackened by the fire of 1655. Don’t miss the bas-relief of the Assumption of Mary by Giovanni d’Agostino (1340) and the funerary monument of Cristoforo Felici by Urbano da Cortona (1463). Hanging from the nave walls are the banners of all the contrade of Siena, symbolizing the bond with the city.

Three reasons not to miss this basilica. 1. The Eucharistic Miracle: a unique phenomenon in the world, visible in the dedicated chapels. 2. The Masterpieces by Lorenzetti: rare frescoes from the 14th-century Sienese school, among the best preserved. 3. The Authentic Atmosphere: far from mass tourism, the church is still a place of prayer and neighborhood life, with the contrada flags reminding of the Palio. Free admission, open every day.

Three reasons not to miss this basilica. 1. The Eucharistic Miracle: a unique phenomenon in the world, visible in the dedicated chapels. 2. The Masterpieces by Lorenzetti: rare frescoes from the 14th-century Sienese school, among the best preserved. 3. The Authentic Atmosphere: far from mass tourism, the church is still a place of prayer and neighborhood life, with the contrada flags reminding of the Palio. Free admission, open every day.

The best time? The 17th of each month, when a solemn Mass commemorates the discovery of the Sacred Particles (8:30, 10:00, 11:15, 18:00) and from 9:00 PM there is Eucharistic adoration. Otherwise, choose a weekday morning to enjoy the silence and the light filtering through the Gothic stained-glass windows. Late afternoon, with the sun illuminating the rose window, is equally evocative. Avoid the midday hours if you seek quiet contemplation.

The best time? The 17th of each month, when a solemn Mass commemorates the discovery of the Sacred Particles (8:30, 10:00, 11:15, 18:00) and from 9:00 PM there is Eucharistic adoration. Otherwise, choose a weekday morning to enjoy the silence and the light filtering through the Gothic stained-glass windows. Late afternoon, with the sun illuminating the rose window, is equally evocative. Avoid the midday hours if you seek quiet contemplation.

Just a stone’s throw away, the Collegiate Church of Santa Maria in Provenzano, where the Sacred Hosts were found in 1730. It’s worth a visit. Then, for a dive into medieval Siena, wander between Piazza Salimbeni and Piazza Tolomei with their historic palaces. If you have time, the Museo di Santa Maria della Scala is a 10-minute walk away. And don’t forget to try a panforte in one of the city center’s pastry shops.

Just a stone’s throw away, the Collegiate Church of Santa Maria in Provenzano, where the Sacred Hosts were found in 1730. It’s worth a visit. Then, for a dive into medieval Siena, wander between Piazza Salimbeni and Piazza Tolomei with their historic palaces. If you have time, the Museo di Santa Maria della Scala is a 10-minute walk away. And don’t forget to try a panforte in one of the city center’s pastry shops.