Basilica of San Francesco, Siena

The Basilica of San Francesco in Siena is a significant religious and architectural landmark. Originally erected around 1228-1255, this church was initially designed in the Romanesque style but was substantially enlarged and transformed into a Gothic structure during the 14th and 15th centuries. This transition reflects the needs of the Mendicant Orders for which the church was built, requiring ample space to accommodate large congregations. The basilica follows an Egyptian Cross plan with a broad nave and transept.

Despite its historical and artistic significance, the interior of the Basilica of San Francesco appears relatively sober today. This is largely due to a fire in 1655 and a substantial restoration between 1885 and 1892, which led to the removal of many Baroque altars. However, efforts have been made to return some of the artworks that were once removed.

The façade of the basilica is neo-Gothic, a result of early 20th-century renovations, and is flanked by a campanile dating back to 1763. Previous medieval decorations and a 15th-century portal were removed during these updates.

Inside, the counterfaçade holds significant historical pieces including two 14th-century sepulchers and large frescoes originally from Siena's city gates—Porta Romana and Porta Pispini. These include the "Coronation of the Virgin" by Sassetta and Sano di Pietro (1447-1450) and a "Nativity" by Il Sodoma (1531).

The basilica also houses an impressive collection of artworks by notable Italian artists. Among these are the "Madonna with Child and Saints" by Jacopo Zucchi, "Crucifixion" by Pietro Lorenzetti, and a fresco by his brother Ambrogio. Other remarkable works include the "Prayer of Saint James" by Giuseppe Nicola Nasini, "Martyrdom of Saint Martina" by Pietro da Cortona, and a "Madonna with Child" fresco by Jacopo di Mino del Pellicciaio.

A notable sculpture in the right transept is a 14th-century marble depiction of Saint Francis, salvaged from the church's ancient façade. This piece not only contributes to the historical depth of the basilica but also ties the building’s past architectural elements with its present form.