Erected in Romanesque forms in the XII century (in 1120 news of its consecration is had) on a preexisting church devoted Maria to Saint, magnified in the XIII century (1254), according to the Vasari for work of Nicola Pisano. Modified in 1580-84 to want some bishop Guido Serguidi, to adjust him/it to the new liturgical norms sprung by the Council of Trento, introduces an inside to three aisles, on thick columns dressed again of plaster that simulates a pink granite and a beautiful wooden ceiling to chests with busts of Saints, carved by Jacopo Pavolini by Castelfiorentino. The intervention that has definitely transformed him/it, however, was had during the 1842-43 restaurations, when it was finished cancelling how much he/she remained of the ancient Gothic church. To the outside, to the left of the façade a side of the Chapel of the Our Lady of Sorrows (the access is from the cathedral), which a fifteenth-century bell tower to three turns of bifore is set, rebuilt in 1493 in substitution of the old bell tower that threatened with collapsing, on sketch of analogous erect bell tower to Bolsena in 1482 from the Sansovino, and subsequently lowered for reasons for stability.
The inside preserve numerous works of art, among which you/they detach:
· to the greatest altar an elegant ciborium of Bill from Fiesole, performed in 1471;
· to the sides of the altar, above two columns to tortiglione of white marble of the XII century, two angels, always of Bill from Fiesole;
· behind the altar a 1404 beautiful Gothic wooden choir;
· in the 1ª chapel, to the right, the ark of S. Ottaviano, of Raffaele Cioli from Settignano (1522);
· in the 2ª chapel, to the left, a Deposition, wooden group silvered policromo and gilded of 1228, masterpiece of the Romanesque sculpture, of unknown sculptor volterrano;
Halves · the central aisle, on the left, a beautiful pulpit recomposed in 1584 with sculptures of the '200. It rises on four columns with beautiful capitals, that rest on two lions, an ox and a bull. The box, rectangular, it is composed of tiles of different authors;
· in the Chapel of the Our Lady of Sorrows, within two niches he/she closed from seventeenth-century gates in iron beaten two statuary groups attributed to Giovanni of the Robbia: to the left a Presepio in painted terracotta with to the fund "the arrival of the Magis" of Benozzo Gozzoli, to the right, an Epiphany;
· in the adjoining Chapel of the Name of Jesus, contained in a precious silvery reliquary of the XVIII sec., a tablet with the Monogram of Christ, given to Volterra in 1474 from St. Bernardino from Siena.


In Plaza St. Giovanni, isolated, in front of the Cathedral, the Baptistery rises: building to octagonal plant that goes up again to the XIII century. The side that faces the cathedral is dressed again of green and white bands of marble, with Romanesque portal on the forehead to white and green gangs that it hears again some hand of Nicola Pisano, while the sculptures of the scarsella are of Bill from Fiesole. To the inside, in the niche to the right of the altar, a baptismal source is preserved where graven are, on five faces, Jesus's baptism, the Faith, the Justice, the Charity, the Hope, performs in white marble from Andrew Cantucci says the Sansovino. It seems that the Brunelleschi has furnished suggestions for the construction of the dome.


It leans out in the homonym piazzetta. It preserves a beautiful façade Romanesque-pisana of the XIII century, in the fanlight Madonna with his/her/their Child, in marble, of school pisana (the original one is preserved in the Museum of Sacred art). To the inside: Madonna with his/her/their Child, terracotta enameled of Giovanni of the Robbia and a guardian angel of Nicolò Cercignani, says the Pomarancio.

Founded in 1280, the 1728 intervention delivers her/it in the actual state. The inside to three aisles on columns, preserve some works of art.

Erected in the XV century, turned into 1507, with Baroque façade, currently desecrated.

In the homonym street, the church of S. is found Lino, erect in 1480 on the place where, according to the tradition, the house of S. rose Lino, the second pontiff, successor of S. Pietro. It belonged to a convent of nuns of seclusion. Currently desecrated.

In Inghirami Plaza, aloft the church of S. is risen to the right Francis, erect in the XIII sec., but rehandled entirely almost: it has a simple façade, to curtain of stones, with portal and central rose window. The inside is to an only aisle, with roof to open beams. To the greatest altar a grandiose tabernacle marmoreal container a fifteenth-century image of the Madonna of S. Sebastiano, patrona of Volterra. To the left, in a small room apart a Pity it is found in colored terracotta, of the volterrano Zaccaria Zacchi. To the right a door is found that from access in the Chapel of the Cross in the daytime, erect in 1315 with entry independent from the plaza, to the right of the façade of the church. And' an environment to two Gothic aisles, absidata and entirely in 1410. Among the so many frescos, all of Signs of Francis Cenni, that the Legend of the S. represents Cross and Histories of Jesus, strike a Slaughter of the innocent particularly raw.

In front of the church of S. Francis is the church of S. Dalmazio (1516 Renaissance portal). To the inside, among the other works, a Deposition of Giovanni Paolo Lipsticks and histories of St. Benedict of Giovanni Camillo Vergers.

Out of the boundaries, in direction of the "crags", in the homonym suburb, to the vertex of a steep stairway, the diruta is found church Romanesque-pisana of S. Stephen.

In direction of Suburb S. Correct, near the boundaries etrusche is found the church of S. Chiara, with portico attributed to the Ammannati, flanked on the right from the ex convent, currently Rest home for elderly.

In the homonym suburb, in top to a tilted plain grassy, flanked by two rows of cypresses, the church rises of St. Correct. Begun in 1627 to replace that collapsed for advancing some Crags, it was consecrate in 1775. To the inside introduces a sober only aisle. In front of the entry of the oratory an interesting solar clock is found, planned by the volterrano Giovanni Inghirami in 1801. The light, penetrating from a practiced hole in the cupoletta of intersection of the transetto, it projects a solar ray on a meridian line of white marble marked on the floor pointing out the hours 12 for the whole year; you/he/she has not been wrong once never.

The abbey with the attached church was built in 1030 next to the church of St. Correct to the Botro, that preserved the bodies of St. Correct and of St. Clemente and that it was sunk in the Crags in the century XVII. Center of culture and art, entertained works of Giotto, of the Ghirlandaio, of Botticelli, further to a library rich in incunaboli and manuscripts; it was abandoned to draw near some abyss of the Crags. Of the church, slipped in 1895 a Romanesque apse and the thick bell tower of medieval epoch he/she remains.

Built together with the attached Franciscan convent in 1445 on sketch of Michelozzo, introduces a portico to whose sides are found two chapels containing two shovels in terracotta glazed of Giovanni of the Robbia (1501). To the inside two paintings of the XV sec., an Immaculate Conception of Saints of Tito and two statues in terracotta enameled of S. Girolamo and of S. Francis, you attributes to Giovanni Gonnelli, says the Blind one of Gambassi.

Erected in the XIII sec., but completely referred in the Seven hundred one; annexed the Episcopalian Seminar, in which a Madonna preserves him in Gloria to the church, terracotta senese of the XV century.

Out of the boundaries, in the Suburb S. Alexander, not distant from it Brings her/it to the arc, the homonym church it is found, built in the XII century, consecrate, according to the tradition, from Pope Callisto II in 1120, more times rehandled, preserve a Romanesque portal. To the inside a Madonna with the Child of school senese.