Spend a day in Siena discovering its most iconic and least-known treasures. You’ll approach the city through the very countryside celebrated in the frescoes of Good Government—rolling hills, cultivated fields, a landscape shaped by balance and vision. Before even stepping inside the historic center, you’ll have already seen the scenery that once symbolized prosperity and civic harmony.
After a leisurely lunch, time for a gelato or a bit of shopping, we’ll make our way back with eyes still full of Siena’s light, stories, and beauty—carrying with us the quiet balance between countryside and city that defines this extraordinary place
The Duomo di Siena does not ease you in gently. Black and white marble, vertical tension, symbolic overload. And then the floor — the extraordinary marble inlay pavement praised by Giorgio Vasari as the most magnificent ever created. Normally protected, occasionally revealed, always overwhelming.
At the Museo dell’Opera del Duomo, Duccio’s Maestà returns to its original dimension and weight. The original rose window, the fragments, the sculptural program — all evidence of a city that aimed higher than most.
Then the Facciatone: the unfinished extension of the cathedral façade, now a panoramic walkway suspended between medieval ambition and open sky. The view explains everything.
Rediscovered only in 2000, the Cathedral Crypt reveals 13th-century frescoes with a chromatic intensity that feels almost contemporary. No romantic decay. No soft patina. Just medieval color, stubbornly alive.
Siena doesn’t begin with a monument. It begins with a space. Piazza del Campo opens like a carefully staged civic statement: shell-shaped, sloping, theatrical without trying too hard. This is where the Government of the Nine shaped the city’s golden age, turning urban design into ideology. Even the Fonte Gaia is not just decoration — it is public art with institutional confidence.
The Palio di Siena is not folklore. It is a civic ritual embedded in rivalry, belonging and memory. The system of the Contrade di Siena still defines social life today. In Siena, identity is inherited, defended and occasionally raced around a square.
A city where art is political, beauty is strategic and every stone seems to remember exactly why it was placed there
Inside the Palazzo Pubblico, politics stops being abstract. Ambrogio Lorenzetti’s Good and Bad Government is not a fresco cycle; it is a visual constitution. Simone Martini’s Maestà speaks of civic devotion, while the equestrian portrait of Guido Riccio da Fogliano asserts control over territory. Power here is painted, theorised and displayed with unsettling clarity.
| Guests | Total price | Per person |
|---|---|---|
| 1–2 | €590 | €590 |
| 3 | €630 | €210 |
| 4 | €680 | €170 |
| 5 | €730 | €146 |
| 6 | €780 | €130 |
| 7+ | Available on request | |
