OVER TIME

OVER

TIME

BETWEEN YESTERDAY...

The Palazzo delle Papesse, an imposing building in Siena, combines a Gothic and Renaissance style in its travertine facade. Commissioned in 1460 by Caterina Piccolomini, sister of Pope Pius II, the project reflects the ambitious dynastic policy of the Piccolomini family. Although traditionally attributed to Bernardo Rossellino, Antonio Federighi and Urbano da Cortona were also involved in the construction. The palace hosted Galileo Galilei in 1633, during his exile, where he completed the Speeches and mathematical demonstrations and observed the Moon with the telescope. In 1757, after the extinction of the Piccolomini family, it passed to the Tolomei, then to the Nerucci, until its acquisition by the Bank of Italy in 1884. Decorated in the 19th century, it was a centre for contemporary art from 1998 to 2008. Since June 2024, it has been managed by Opera Laboratori for cultural and museum purposes.

1460

Start of construction of the Palazzo delle Papesse, commissioned by Enea Silvio Piccolomini, Pope Pius II, for his sister Caterina, who, having become the widow of Bartolomeo Guglielmi in 1453, follows the work in person, with great determination. In August, the woman, born in Pienza to Silvio Piccolomini and Vittoria Forteguerri, who are survived by three children (Enea Silvio, Laudomia and Caterina), purchases a series of public and private properties on which to build. The project is entrusted to a “valentissimo maestro” who is “facta designare la detta casa”.

1463

On June 1st, the Signoria of Siena recalls Caterina Piccolomini to settle the debts of some creditors, the Sienese sculptor and architect Antonio Federighi, whose name will always reappear in relation to payments, and the Florentine sculptor and architect Bernardo Gambarelli, known as Rossellino. The construction of the noble residence, however, is nearing completion: on September 9th the wood for the roof is acquired, as there was nothing left but to “cuprire” the Palace.

1466

The Palace, used as a residence for Caterina and her family, is the result of a shared dynastic strategy. It will be inhabited by the Piccolomini Pieri, the branch descended from her through her daughter Antonia who will marry Bartolomeo Pieri, adopted by her uncle the Pope to ensure the lineage.

1481-1483

During this three-year period Caterina Piccolomini died, considered by some scholars to be the first woman in Italy to have followed the construction of a private residence. Until the end of the fifteenth century the Palace was called “of Caterina” and only in the following century it took the name “delle Papesse”.

1588

Above the central portal of the Palace, a plaque surmounted by the Piccolomini coat of arms bears the name of Ascanio I Piccolomini, Archbishop of Siena from 1589 to 1597, as well as the date indicated. Below, the heraldic emblem of the tortoise is carved with the motto “AD LOCUM TANDEM” (“al fin pur giunge”). At the end of the 16th century, Ascanio, endowed with a refined literary culture and a patronage that reflected the interests of his ancestors, promoted a restoration of the building.

1633

The namesake grandson of Ascanio I, Ascanio II Piccolomini, son of his brother Silvio, also archbishop of Siena since 1628, interested in scientific studies, hosted the scientist Galileo Galilei in the Palace after his condemnation by the Holy Office. The illustrious guest arrived in Siena on July 9 and resided in the city until December 19. In August, Teofilo Gallaccini observed the moon through Galileo’s telescope from the loggia of the Palace “with six successive re-views in as many evenings”.

1757

With Ottavio’s death, lord of Náchod, last descendant of the Piccolomini Pieri delle Papesse, the branch having died out, the Palace was transferred to the Tolomei family by trust.

1804

The Palace was purchased by the Nerucci family, whose family crest is visible in the vault of a room on the second floor. At this level you can access a terrace where you can admire the Facciatone, what remains of the great facade of the Duomo Nuovo.

1844

A commemorative inscription in the spandrel of a pillar between the atrium and the entrance vestibule recalls a restoration to which some decorations of the vaults of the Palace present in some rooms on the second floor, attributed to the painter brothers Cesare and Alessandro Maffei, may perhaps be referred.

1884

On April 16, the deed of sale by Counts Giovanni and Niccolò di Mario Nerucci to the Banca Nazionale del Regno (Banca d’Italia since 1893) was executed. The building was adapted to its new function by the Sienese architect Augusto Corbi who, by recovering the ancient parts and demolishing the later additions, recreated the Renaissance aura of the residence. The decorations also reflect the purist canons promoted by the entourage of painters trained at the Art Institute with Luigi Mussini. One of the most evocative ceilings, depicting triumphal chariots with deities alluding to the Planets and inscriptions relating to banking virtues, is attributed to Alessandro Franchi, with the collaboration of Gaetano Marinelli and Giorgio Bandini.

1998-2008

The “Papesse” become a Centre for Contemporary Art established by the Municipality of Siena.

2024

In June, the Palazzo became the property of Opera Laboratori, which deals with museum management and cultural planning: “Living the best of the experiences in the territories in which we are, knowing and respecting what we are fortunate enough to preserve and enhance, spreading good habits, more sustainable and aware, for ourselves and for future generations” (Beppe Costa, President of Opera Laboratori SpA).

1460

Start of construction of the Palazzo delle Papesse, commissioned by Enea Silvio Piccolomini, Pope Pius II, for his sister Caterina, who, having become the widow of Bartolomeo Guglielmi in 1453, follows the work in person, with great determination. In August, the woman, born in Pienza to Silvio Piccolomini and Vittoria Forteguerri, who are survived by three children (Enea Silvio, Laudomia and Caterina), purchases a series of public and private properties on which to build. The project is entrusted to a “valentissimo maestro” who is “facta designare la detta casa”.

1463

On June 1st, the Signoria of Siena recalls Caterina Piccolomini to settle the debts of some creditors, the Sienese sculptor and architect Antonio Federighi, whose name will always reappear in relation to payments, and the Florentine sculptor and architect Bernardo Gambarelli, known as Rossellino. The construction of the noble residence, however, is nearing completion: on September 9th the wood for the roof is acquired, as there was nothing left but to “cuprire” the Palace.

1466

The Palace, used as a residence for Caterina and her family, is the result of a shared dynastic strategy. It will be inhabited by the Piccolomini Pieri, the branch descended from her through her daughter Antonia who will marry Bartolomeo Pieri, adopted by her uncle the Pope to ensure the lineage.

1481-1483

During this three-year period Caterina Piccolomini died, considered by some scholars to be the first woman in Italy to have followed the construction of a private residence. Until the end of the fifteenth century the Palace was called “of Caterina” and only in the following century it took the name “delle Papesse”.

1588

Above the central portal of the Palace, a plaque surmounted by the Piccolomini coat of arms bears the name of Ascanio I Piccolomini, Archbishop of Siena from 1589 to 1597, as well as the date indicated. Below, the heraldic emblem of the tortoise is carved with the motto “AD LOCUM TANDEM” (“al fin pur giunge”). At the end of the 16th century, Ascanio, endowed with a refined literary culture and a patronage that reflected the interests of his ancestors, promoted a restoration of the building.

1633

The namesake grandson of Ascanio I, Ascanio II Piccolomini, son of his brother Silvio, also archbishop of Siena since 1628, interested in scientific studies, hosted the scientist Galileo Galilei in the Palace after his condemnation by the Holy Office. The illustrious guest arrived in Siena on July 9 and resided in the city until December 19. In August, Teofilo Gallaccini observed the moon through Galileo’s telescope from the loggia of the Palace “with six successive re-views in as many evenings”.

1757

With Ottavio’s death, lord of Náchod, last descendant of the Piccolomini Pieri delle Papesse, the branch having died out, the Palace was transferred to the Tolomei family by trust.

1804

The Palace was purchased by the Nerucci family, whose family crest is visible in the vault of a room on the second floor. At this level you can access a terrace where you can admire the Facciatone, what remains of the great facade of the Duomo Nuovo.

1844

A commemorative inscription in the spandrel of a pillar between the atrium and the entrance vestibule recalls a restoration to which some decorations of the vaults of the Palace present in some rooms on the second floor, attributed to the painter brothers Cesare and Alessandro Maffei, may perhaps be referred.

1884

On April 16, the deed of sale by Counts Giovanni and Niccolò di Mario Nerucci to the Banca Nazionale del Regno (Banca d’Italia since 1893) was executed. The building was adapted to its new function by the Sienese architect Augusto Corbi who, by recovering the ancient parts and demolishing the later additions, recreated the Renaissance aura of the residence. The decorations also reflect the purist canons promoted by the entourage of painters trained at the Art Institute with Luigi Mussini. One of the most evocative ceilings, depicting triumphal chariots with deities alluding to the Planets and inscriptions relating to banking virtues, is attributed to Alessandro Franchi, with the collaboration of Gaetano Marinelli and Giorgio Bandini.

1998-2008

The “Papesse” become a Centre for Contemporary Art established by the Municipality of Siena.

2024

In June, the Palazzo became the property of Opera Laboratori, which deals with museum management and cultural planning: “Living the best of the experiences in the territories in which we are, knowing and respecting what we are fortunate enough to preserve and enhance, spreading good habits, more sustainable and aware, for ourselves and for future generations” (Beppe Costa, President of Opera Laboratori SpA).

...AND TODAY

It is not enough to look, we must look with eyes that want to see, that believe in what they see.

Galileo Galilei

VISION

Spokesman of this word is the most illustrious guest who has ever crossed the threshold of the Palazzo delle Papesse: Galileo Galilei.

Vision understood as visionariness, intellectual curiosity to discover the new, ability to go beyond the known and to challenge common belief.

Just like Galileo through his telescope, Opera Laboratori also offers through its art exhibitions, new visions and ways of seeing art and culture in general to be seen with new eyes: “eyes that want to see and believe what they see…”

OPEN-MINDEDNESS

To describe the soul of the Palace there is still the open-mindedness of Galileo and his way of interpreting science; but there is also that of Caterina Piccolomini. A woman who “despite everything”, going against the norms and customs of her time that considered women not up to the task, built and organized the building now reopened by Opera Laboratori.

Just as Caterina was a woman of open views, so the Palazzo delle Papesse becomes a symbol of open-mindedness, inclusive and participatory, on the art’s world.

PLURALITY

This word is perhaps the most “key” of the three keywords chosen. Because plurality is in the name of the building; in the number of crescent moons of the Piccolomini symbol; in the number of inhabitants and functions that have followed one another over time (residence, school, bank, museum).

This being one thing and many things at the same time gives substance and credibility to the plurality of interests of the new exhibition space of Opera Laboratori that will “range” from contemporary to ancient art, from comics to photography, from innovation to tradition, from figurative to experimental.

WATCH THE VIDEO OF THE PRESENTATION

THE PALACE

VISIT

NOT TO BE MISSED

CONTACTS

we inform you that on 22th january the last admission is at 6.30 and the palace will close at 7 pm.The drawing class scheduled for January 23rd has been cancelled and rescheduled for February 27th.