Tourist Attraction in Arezzo: Chiesa di San Domenico
The church of San Domenico is one of the most famous sacred buildings of Arezzo for its presence, within the wooden crucifix painted by Cimabue, considered one of the masterpieces of the painting of the 13th century, dating back to the late sixties. In January 1276, in the place where it was still under construction, the church of San Domenico hosted what for the Church of Rome was the first conclave of history. In April 1960 Pope John XXIII raised it to the dignity of a smaller basilica. The Gothic church was started in 1275 and ended in the 14th century. The financial contributions of the Ubertini and Tarlati families coincided with its construction. The asymmetrical façade, in masonry, also includes the bell tower with two bells. The rooftop interior has a single nave, which takes light of 12 monofore windows (6 per side) whose reciprocal distance decreases as it approaches the apse, thus giving a greater sense of depth to the classroom. The 14th century pictorial decoration is still well-documented. It is a mature work (1395-1400) by Spinello Aretino, the fresco with the saints Filippo and Giacomo Minore and stories of their life and of St. Catherine on the inner wall of the facade. His son Parri di Spinello is the Crucifixion of saints on the right side of the inner wall of the façade: to the right of the Crucifix are depicted the Virgin and St. Nicholas, and to the left the saints John and Domenico. Dragomanni chapel, a family whose weapon was a dragon, has a gothic structure with a black stone altar carved by Giovanni di Francesco da Firenze (1368) and a fresco representing a teenage Jesus who talks with the doctors of the Temple of Sienese Luca di Tommé. In a niche an enamelled terracotta of Giovanni and Girolamo della Robbia, made between 1515 and 1520, represents San Pietro da Verona. In the left chapel, the triptych of John d'Agnolo, on the altar, represents: in the center the Archangel Michael, on his right (left for those looking at) San Domenico, and to his left San Paolo. In the chapel on the right, where the Eucharist is housed, a Madonna and Child with stone, anonymous archeological site, once part of the sculpture series that, since 1339, decorated the ten gates of the city walls, here hospitalized to subtract it from degradation caused by exposure to weather. In the church was buried the Renaissance painter Niccolò Soggi, quoted by Vasari in his Leaves of the most outstanding painters, sculptors and architects.