Walking Tour of Assisi: Map and Route!

Piazza del Comune remains the central square of the town, echoing its significance since ancient Roman times when it served as the forum. The Renaissance fountain of the three lions is located here. It is made up of 3 overlapping basins, where in the larger one there are three lions representing the three urban districts of Assisi from whose mouth the water comes out. Today, the square remains a vibrant hub of local activity, surrounded by shops and eateries, continuing to play a central role in the community’s life.

The portico of the Temple of Minerva, dating back to the first century BC, was transformed into the church of Santa Maria della Minerva in 1539. Despite a 17th-century renovation in the Baroque style, the façade retains its original Roman columns and architrave, preserving the ancient architectural essence. A fresco by Giotto in the Basilica of St. Francis depicts the building with bars on its windows, suggesting that it served as a jail during medieval times, adding a layer of historical intrigue to this already fascinating structure.

The Palazzo del Capitano del Popolo is situated in Piazza del Comune, to the left of the church of Santa Maria Sopra Minerva. Constructed between the mid-13th century and 1282, it underwent significant restoration in 1927, during which its original roof was replaced with a Guelph battlement that also crowns the nearby bell tower. The building features three levels of windows, corresponding to the internal floors, and its ground floor is characterized by three large round arches that still house commercial activities today. At the base of the adjacent Torre del Popolo, built between 1275 and 1305, you can see the measurements of the tiles and bricks used in the buildings of that era.

Beneath today’s Town Hall Square, dominated by the Roman Temple of Minerva (1st century BC), lies the ancient Roman Forum, discovered during excavations in 1836. Access the underground area from via Portica through the Romanesque crypt of the former church of San Nicolò “de platea,” which showcases sarcophagi, capitals, and inscriptions from Assisi and its immediate surroundings. The remains of the Forum include the base of the temple with access doors to the vestibule, a monumental cistern, a podium with seats for the judiciary, and a small tetrastyle temple dedicated to Castor and Pollux. In a second room, three marble statues found in the Forum are preserved.

The basilica erected above the tomb of St. Francis of Assisi during the early 13th century stands as one of Italy’s and the world’s foremost pilgrimage sites. Its construction began promptly after St. Francis was canonized by Pope Gregory IX on July 17, 1228, symbolized by the laying of the first stone. Completed in 1253, it claims the title of Italy’s oldest Gothic church.  The basilica comprises two distinct churches: the upper church and the lower one.

The walls of the upper church are covered with brightly colored frescoes and stained-glass windows. Along the nave, the frescoes tell the Stories from the Life of Saint Francis (painted by Giotto) on the lower walls and Stories from the Old and New Testament along the upper walls. The ceiling is painted a vibrant blue color and is a gorgeous sight to see.

Exit the upper church and take the stairs down to the lower church. This church is much smaller and more solemn than the upper church. It is here that you can enter the crypt of St. Francis. The frescoes on the walls of the lower church were painted by artists Cimabue, Giotto, Lorenzetti, and Martini. The first chapel of the lower church features remarkable depictions from the life of St. Francis by acclaimed artists Giotto and Simone Martini. In the lower transept, the chapel of St. Catherine of Alexandria showcases 14th-century frescoes by Andrea da Bologna, while the nave’s cycle, painted around 1260, is attributed to an artist known only as the Maestro di San Francesco. Despite centuries of wear, these frescoes represent some of Tuscany’s most significant artwork predating Cimabue. The upper church’s choir and transepts also feature frescoes by Cimabue, while the nave displays 28 scenes from St. Francis’s life attributed to Giotto and his pupils.

In the crypt, visitors can behold a stone sarcophagus housing the saint’s remains, brought here during the basilica’s construction and rediscovered in the 19th century after being lost for centuries.

Constructed in 1265, the Gothic basilica dedicated to St. Clare stands as a testament to the devout disciple of St. Francis, revered for founding the order of Clarissines or Poor Clares. Beneath the grandeur of its high altar lies the open tomb of St. Clare herself, who passed away in 1253.

Within the confines of the Cappella del Crocefisso, nestled along the left side of the nave, hangs the revered Speaking Cross originating from the convent of San Damiano. Legend has it that it was before this very cross that St. Francis received the divine message from God to “go forth and rebuild my house.”

The basilica’s interior is adorned with a captivating cycle of frescoes portraying the life of St. Clare, contributed by various talented artists. A visit to the charming Piazza Santa Chiara, situated in front of the church.

Adjacent to the cathedral is the Cappella delle Rose, adorned with exquisite frescoes by Tiberio d’Assisi dating back to 1518, portraying various episodes from the life of the saint. For those fond of leisurely strolls, the sanctuary offers an ideal half-day excursion, or it can be seamlessly integrated into a circular driving route that includes a visit to Rivolato, another significant pilgrimage site associated with St. Francis.

Constructed during the 12th and 13th centuries, the cathedral of San Rufino showcases remarkable examples of early medieval stone carving. Intricately carved animals serve as corbels, mythical creatures ascend pilasters, and delicate foliage intertwines with capitals, while saints and their symbols stand sentinel at doorways. St. Francis himself sought solace in its crypt, dating back to the 11th century, during his visits to preach at the church.

Today, the crypt exudes a captivating atmosphere, featuring three aisles and an apse adorned with an exceptional third-century Roman sarcophagus sculpted from marble. Within the cloisters, visitors encounter a Roman well, adding to the site’s historical allure. The cathedral’s extensive treasures, encompassing both historical artifacts and artistic masterpieces, including Roman relics unearthed from the cathedral precinct, are showcased in the museum.

Notable highlights within the collection include the multi-paneled canvas Madonna of the Rosary, crafted in 1581 by Lorenzo Doni, 13th-century frescoes narrating the life of Christ, a stunning polyptych of San Rufino from 1462, and a second-century Roman sarcophagus. Additionally, visitors can admire paintings by renowned artists such as Jacopo della Quercia and Filippo Lippi, further enhancing the museum’s appeal as a repository of cultural and artistic heritage.

The Roman Amphitheater of Assisi, situated near one of the city’s gateways, is a remnant of its ancient past, though only fragments of its original magnificence remain. The most prominent feature is an arch built from travertine wedges. Dating back to the early 1st century AD, the amphitheater originally boasted two tiers of seating, some portions of which are still discernible today. While much of its elliptical form has eroded over time, you can still trace its outline between the garden wall and the medieval buildings that now occupy the space where spectators once gathered.

Perched on the hillside to the right of the Major Fortress, or “Rocca Maggiore,” Assisi’s Minor Fortress, known as the “Rocca Minore,” offers a captivating contrast to its larger counterpart. Although more recent, dating back to 1174, it still commands impressive views over Assisi.

Once connected to Rocca Maggiore by walkable walls, these two fortresses stand as imposing symbols of Assisi’s medieval defenses. A long wall reportedly connects them, concealing a secret path beneath it—a testament to the strategic importance of these fortifications during times of conflict.

Visitors who make the climb are rewarded with breathtaking panoramas of Assisi and the surrounding Mount Subasio Park. It’s an ideal spot for a peaceful picnic amidst nature’s beauty. However, come prepared, as there are no nearby amenities like bars or bathrooms—just uninterrupted immersion in the serene landscape.

The Casa natale di San Francesco, or the Birthplace of St. Francis, holds a significant place in the hearts of those who revere the life and teachings of the beloved saint. This humble abode serves as a poignant reminder of the saint’s origins and his remarkable journey towards spiritual enlightenment.

Located in Assisi, Italy, the oratory within the Casa natale di San Francesco is believed to be the precise spot where St. Francis was born. However, the site’s history is imbued with layers of significance. Originally, it was not a grandiose mansion or an opulent residence, but rather a simple stable, a place where animals were sheltered and cared for.

According to tradition, it was within these humble surroundings that St. Francis’s mother, Pica de Bourlemont, gave birth to him on July 5, 1182. The rustic setting of a stable, with its earthy simplicity and modest surroundings, underscores the humility and simplicity that would come to define St. Francis’s life and teachings.

Over time, as St. Francis’s legacy grew and his followers sought to commemorate his birthplace, the stable was transformed into an oratory. This conversion was not merely a physical alteration but a symbolic gesture, signifying the sanctification of a place where a saint was born. The oratory became a place of reverence, where pilgrims could come to pay homage to the memory of St. Francis and reflect on his profound spiritual journey.

A little way south of the Palazzo Comunale, on a lower level, stands the Chiesa Nuova, built in 1615. This small church, designed on a centralized plan, was erected on what was believed to be the birthplace of St. Francis. The story of its construction is intertwined with the legacy of St. Francis and the Franciscans’ efforts to preserve his memory.

In 1613, the Spanish Vicar General of the Franciscans visited Assisi and discovered the dilapidated condition of the house of Pietro di Bernardone, where it was believed St. Francis was born. Moved by the state of the site, he sought to preserve this sacred place. With a generous gift from King Philip III of Spain, he was able to purchase the house and commission the building of a new church.

The Chiesa Nuova was constructed with its high altar situated over what was considered to be the room where St. Francis was born. This late Renaissance-style church features beautiful 17th-century frescoes by artists Cesare Sermei and Giacomo Giorgetti, adding to its artistic and historical significance.

Adjacent to the church is a small museum located in the friary. This museum offers visitors a glimpse into the life and times of St. Francis, with various artifacts and exhibits that commemorate his enduring legacy. The Chiesa Nuova and its museum provide a poignant connection to the humble beginnings of one of Christianity’s most beloved saints.