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Chiesa di Santa Maria, Panzano in Chianti

Chiesa di Santa Maria, Panzano in Chianti caratteristiche del sito

Ultimo aggiornamento il 3 novembre 2026

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Chiesa di Santa Maria, Panzano in Chianti site plan

La chiesa

Leggete la fiancata sinistra dal camposanto vecchio e l'edificio si spiega da sé. Gli ampliamenti di fine secolo sono, con le parole della documentazione, ben riconoscibili da lì.

La navata crebbe nelle due direzioni insieme. La profonda ristrutturazione fra la fine dell'Ottocento e l'inizio del Novecento creò le cappelle laterali, prolungò la navata centrale sul davanti fino a far inglobare alla nuova facciata parte del campanile, e la allungò sul retro nei due semicerchi attuali.

Quell'ampliamento chiuse una porta che non portava più da nessuna parte. Il prolungamento in avanti chiuse l'ingresso al vecchio cimitero, che in seguito all'editto di Saint-Cloud — emanato da Napoleone nel 1802 e promulgato per il Regno d'Italia nel 1806 — era già stato dismesso.

La sala migliore è la cappella dell'Annunciazione, con ingresso dal lato destro. Vi si trovano l'Annunciazione di circa il 1520, il Crocifisso attribuito a Jacopo Sansovino, un antico ciborio di legno dorato a forma di tempietto esagonale, pregevole lavoro di manifattura del tardo Cinquecento le cui decorazioni pittoriche dei portelli sono attribuite a Michele di Ridolfo del Ghirlandaio, e alcuni antichi paramenti ricamati in oro e seta con antichi reliquiari.

Prima della chiesa rinascimentale c'era una parrocchiale più semplice. Sin dall'epoca rinascimentale Santa Maria era a unica navata senza abside e misurava circa 19 m di lunghezza e 9 di larghezza, con due finestroni di pietra dietro l'altar maggiore e altrettanti in facciata, gli altari laterali addossati alle fiancate e, dalla fiancata sinistra, una cappella a volta che ospitava il fonte battesimale ottagonale in pietra serena. Nel pavimento c'erano numerose sepolture delle più notabili famiglie panzanesi dell'epoca — Firidolfi, Quercetani, Petrucci, De Luigi, Baldi, Cappelletti.

E le porte sono moderne e volute. Il maestoso portone in legno di cipresso racchiude otto formelle di bronzo dello scultore Umberto Bartoli (1965), e sopra, in facciata, la sua Madonna contornata dagli angeli, che spicca col bianco del gesso.

Verificato su Wikipedia, ottobre 2026.

Punti salienti

Un Crocifisso attribuito al Sansovino

Scolpito su legno di pioppo policromato con perizoma di stoffa di lino ingessata e dipinta di azzurro con decorazioni dorate, attribuito a Jacopo Sansovino e datato fra il 1510 e il 1518. Dopo il restauro del 1998 Francesca Petrucci scrisse che "ha rivelato un armonioso impianto rinascimentale esaltato dalla presenza della originaria policromia di finissima qualità pittorica".

Un'Annunciazione vista da un vescovo nel 1542

Della bottega di Ridolfo del Ghirlandaio, eseguita intorno al 1520. È la tabula egregie dipincta cum immagine Anunciationis B. M. ricordata da Braccio Martelli, vescovo di Fiesole, nella visita pastorale del 1542 — la stessa visita che ricorda il Crocifisso come pulcram immaginem Cristi Crucifixi. (Visit Tuscany attribuisce invece la tavola a Michele Ridolfo del Ghirlandaio.)

Un campanile che era una torre del castello

Il campanile è una delle torri perimetrali dell'antico castello medievale, assunta come tale probabilmente nel Tre-Quattrocento — e poi in parte assorbita nella nuova facciata quando la navata fu allungata attorno al 1900.

Una Madonna trecentesca in una cornice quattrocentesca

L'arredo più antico: una piccola tavola trecentesca con la Madonna col Bambino riferita a Cenni di Francesco di ser Cenni, inquadrata nel secolo successivo dalla Tavola con santi di Bernardo Rosselli. Oggi è nella terza cappella di sinistra.

Un fonte voluto da un vescovo

Il fonte battesimale ottagonale in pietra serena all'ingresso, sul lato destro, fu fatto costruire intorno al 1730 dall'allora priore Giuseppe Maria Mammoli per ordine del vescovo di Fiesole Luigi Maria Strozzi.

Un secondo Crocifisso quattrocentesco

Sull'altare della prima cappella di sinistra, attribuito a uno scultore fiorentino del XV secolo, anch'esso in legno di pioppo con perizoma di tela di lino ingessata e dipinta di azzurro.

Porte di bronzo con sopra il Concilio

Le otto formelle di Umberto Bartoli del 1965 raffigurano la Sacra Famiglia, il Discorso della Montagna, i Quattro Evangelisti, l'estasi di san Francesco e santa Caterina da Siena che convince il papa a tornare a Roma da Avignone — e accanto il Concilio Vaticano II, la visita di Giovanni XXIII a Regina Coeli e l'incontro di Paolo VI col patriarca Atenagora.

Fonti e verifica Riguarda le affermazioni documentate di questa pagina.

Verificato su Wikipedia — The church of Santa Maria is a place of worship at Panzano in Chianti, a frazione of Greve in Chianti in the province of Florence, diocese of Fiesole, built between 1890 and 1903. It derived from the enlargement of a primitive Romanesque building recorded in the lists of the Rationes Decimarum per la Tuscia of 1274-75, itself probably enlarged in the fourteenth or fifteenth century with the use as a bell tower of one of the perimeter towers of the ancient medieval castle. At the end of the 1800s the church was contained between the two present great arches, without side chapels, and the bell tower remained detached from the church; between the two structures was the entrance to the cemetery, from which one reached the chapel of the Compagnia della Santissima Annunziata, believed to be the same seen today except for a direct access from the church, closed in the last restoration of the 1960s. The present aspect is due to the deep restructuring between the end of the nineteenth and the beginning of the twentieth century, with the creation of the side chapels and the prolongation of the central nave at the front, taking in with the new facade part of the bell tower and so closing the entrance to the old cemetery which, following the edict of Saint-Cloud issued by Napoleon in 1802 and promulgated for the Kingdom of Italy in 1806, had been decommissioned; the prolongation also affected the rear, creating the two present semicircles. These enlargements are clearly recognisable observing the left flank of the church from the old graveyard., From the Renaissance period the church of Santa Maria at Panzano had a single nave without an apse and measured about 19 metres long by 9 wide; in the rear wall behind the high altar opened two great stone windows with grilles and glazing, and the same in the facade; the side altars were set against the flanks, and from the left flank one reached a vaulted chapel housing the baptismal font, octagonal and in pietra serena, made around the year 1730 and in all probability the present one. In the floor were numerous burials of the most notable Panzano families of the time: Firidolfi, Quercetani, Petrucci, De Luigi, Baldi, Cappelletti., The oldest furnishing of the parish church of Santa Maria Assunta at Panzano is a small fourteenth-century panel of the Madonna and Child referred to Cenni di Francesco di ser Cenni, framed in the following century by a panel with saints executed by Bernardo Rosselli, now in the third chapel on the left. In the chapel of the Annunciation, entered from the right side of the church, are an Annunciation from the workshop of Ridolfo del Ghirlandaio executed around 1520 -- the tabula egregie dipincta cum immagine Anunciationis B. M. recalled by the bishop of Fiesole Braccio Martelli (1501-1560) in the pastoral visit of 1542 -- and a wooden Crucifix attributed to Jacopo Sansovino and dated between 1510 and 1518, also recalled by bishop Martelli as a pulcram immaginem Cristi Crucifixi, carved in polychrome poplar with a loincloth of linen cloth gessoed and painted blue with gilded decoration, of which Francesca Petrucci wrote after the restoration of 1998 that it had revealed a harmonious Renaissance structure heightened by the presence of the original polychromy of very fine pictorial quality. The same chapel holds an old gilded wooden ciborium in the form of a hexagonal tempietto of the late sixteenth century, the painted decorations of whose door panels are attributed to Michele di Ridolfo del Ghirlandaio, together with old vestments embroidered in gold and silk and ancient reliquaries. Another important Crucifix attributed to a fifteenth-century Florentine sculptor stands on the altar of the first chapel on the left, also in poplar with a gessoed linen loincloth painted blue; the octagonal pietra serena font at the entrance on the right was made around 1730 by the then prior Giuseppe Maria Mammoli by order of the bishop of Fiesole Luigi Maria Strozzi; and in the first chapel on the right is a canvas of Santa Maria Maddalena de' Pazzi and Sant'Antonio di Padova painted by Pier Dandini in the mid-seventeenth century., The great cypress-wood portal of the church of Santa Maria at Panzano encloses eight bronze panels by the sculptor Umberto Bartoli (1965) depicting the Holy Family, the Sermon on the Mount, the Four Evangelists, the ecstasy of Saint Francis and Saint Catherine of Siena persuading the pope to return to Rome from Avignon, together with the most salient events of the Church of those years -- the Second Vatican Council, the visit of Saint John XXIII to Regina Coeli and the meeting of the blessed Paul VI with the patriarch Athenagoras. By the same sculptor is the Madonna surrounded by angels standing out in white plaster on the facade above the portal., The oldest furnishing of the parish church of Santa Maria Assunta at Panzano is a small fourteenth-century panel of the Madonna and Child referred to Cenni di Francesco di ser Cenni, framed in the following century by a panel with saints executed by Bernardo Rosselli, now in the third chapel on the left. In the chapel of the Annunciation, entered from the right side of the church, are an Annunciation from the workshop of Ridolfo del Ghirlandaio executed around 1520 -- the tabula egregie dipincta cum immagine Anunciationis B. M. recalled by the bishop of Fiesole Braccio Martelli (1501-1560) in the pastoral visit of 1542 -- and a wooden Crucifix attributed to Jacopo Sansovino and dated between 1510 and 1518, also recalled by bishop Martelli as a pulcram immaginem Cristi Crucifixi, carved in polychrome poplar with a loincloth of linen cloth gessoed and painted blue with gilded decoration, of which Francesca Petrucci wrote after the restoration of 1998 that it had revealed a harmonious Renaissance structure heightened by the presence of the original polychromy of very fine pictorial quality. The same chapel holds an old gilded wooden ciborium in the form of a hexagonal tempietto of the late sixteenth century, the painted decorations of whose door panels are attributed to Michele di Ridolfo del Ghirlandaio, together with old vestments embroidered in gold and silk and ancient reliquaries. Another important Crucifix attributed to a fifteenth-century Florentine sculptor stands on the altar of the first chapel on the left, also in poplar with a gessoed linen loincloth painted blue; the octagonal pietra serena font at the entrance on the right was made around 1730 by the then prior Giuseppe Maria Mammoli by order of the bishop of Fiesole Luigi Maria Strozzi; and in the first chapel on the right is a canvas of Santa Maria Maddalena de' Pazzi and Sant'Antonio di Padova painted by Pier Dandini in the mid-seventeenth century., The church of Santa Maria is a place of worship at Panzano in Chianti, a frazione of Greve in Chianti in the province of Florence, diocese of Fiesole, built between 1890 and 1903. It derived from the enlargement of a primitive Romanesque building recorded in the lists of the Rationes Decimarum per la Tuscia of 1274-75, itself probably enlarged in the fourteenth or fifteenth century with the use as a bell tower of one of the perimeter towers of the ancient medieval castle. At the end of the 1800s the church was contained between the two present great arches, without side chapels, and the bell tower remained detached from the church; between the two structures was the entrance to the cemetery, from which one reached the chapel of the Compagnia della Santissima Annunziata, believed to be the same seen today except for a direct access from the church, closed in the last restoration of the 1960s. The present aspect is due to the deep restructuring between the end of the nineteenth and the beginning of the twentieth century, with the creation of the side chapels and the prolongation of the central nave at the front, taking in with the new facade part of the bell tower and so closing the entrance to the old cemetery which, following the edict of Saint-Cloud issued by Napoleon in 1802 and promulgated for the Kingdom of Italy in 1806, had been decommissioned; the prolongation also affected the rear, creating the two present semicircles. These enlargements are clearly recognisable observing the left flank of the church from the old graveyard., The castle is the highest and oldest part of Panzano; a good part of the walls that girded the hill is still conserved, though on two sides they have been reduced in height while on the south-east side they are missing altogether. Corner towers also survive, one of which has been reused as the bell tower of the church of Santa Maria while another still keeps its apparato a sporgere. The internal structure is simple: from the single access gate, which may originally have had an antiporta, a single street leads to a small piazzetta onto which the cassero faces, the cassero being a tall tower rising higher than all the other buildings; beside the access gate is a building of obviously medieval character. For the accuracy of the wall facing and the form of the archivolts, all the buildings of the castle date its structures to the twelfth century., The great cypress-wood portal of the church of Santa Maria at Panzano encloses eight bronze panels by the sculptor Umberto Bartoli (1965) depicting the Holy Family, the Sermon on the Mount, the Four Evangelists, the ecstasy of Saint Francis and Saint Catherine of Siena persuading the pope to return to Rome from Avignon, together with the most salient events of the Church of those years -- the Second Vatican Council, the visit of Saint John XXIII to Regina Coeli and the meeting of the blessed Paul VI with the patriarch Athenagoras. By the same sculptor is the Madonna surrounded by angels standing out in white plaster on the facade above the portal. (ottobre 2026).