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Church of Santa Croce

In the historic center of Vinci lies the Church of Santa Croce, once known as the ancient “Chapel of Vincio,” already mentioned in historical records dating back to 1132. Originally dedicated to Saint Andrew, the Patron Saint of the Municipality of Vinci, it was renamed Santa Croce (Holy Cross) in the 13th century. The current bell tower was inaugurated in 1855, while restoration work carried out between the 1920s and 1930s gave the church its current Neo-Renaissance appearance.

 

The interior features three naves divided into bays, ending in two chapels dedicated respectively to Saint Andrew and the Blessed Sacrament. The Chapel of the Crucifix houses an ancient wooden crucifix dating to the early 15th century, as well as relics of the Holy Cross and an image of Our Lady of Sorrows, which is the focus of deep popular devotion. Among the most important artworks are a Nativity of the Virgin (1562) by Francesco Brina, the Miracle of Saint Blaise by Gaetano Piattoli, and an Adoration of the Magi by Pier Dandini.

 

The Baptistery and Baptismal Font

Inside the church, a special baptistery was created to mark the 500th anniversary of Leonardo da Vinci’s birth. Here, you can admire the baptismal font where Leonardo was baptized on April 16, 1452 by the parish priest Piero di Bartolomeo Cecchi. In 2010, the baptistery was enriched with a sculptural cycle by artist Cecco Bonanotte, titled The Baptism of Leonardo.

One of the walls bears a plaque with the words of Leonardo’s grandfather, Ser Antonio da Vinci, written on the last page of an old notarial book:

“A grandson of mine was born, son of Ser Piero, my son, on the 15th of April 1452, on a Saturday at 3 a.m. He was named Leonardo.”

 

The church is open daily and free to visit.

 

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Sanctuary of the Holy Annunziata

Built in 1611 on the site of an earlier roadside tabernacle, the Sanctuary is located just outside the walls of the Castello (castle area). It was originally established as a small oratory known as the “Chiesetta della Madonna di Sotto” (“Little Church of the Madonna Below”), referring to its position in relation to the elevated village.

 

The church was enlarged between 1713 and 1719, when the elegant portico was added, featuring three round arches supported by columns in the Tuscan order. The bell tower, however, was built two centuries later, in 1911, designed by the architect Orazio Tamburini, who also donated the largest of the original three bells. A fourth, smaller bell, named Giovannina, was added in 1973 in memory of Pope John XXIII, who, in 1949—then a Monsignor—visited Vinci and paused for prayer in this church.

 

A restoration in 1965 returned the church to its original architectural lines. Following this work, a decree dated July 31, 1965, officially granted the church the title of Marian Sanctuary.

 

Inside, above the main altar, you can admire a fine panel painting of the Annunciation, attributed to the Leonardesque school.

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Parish Church of San Giovanni Battista

Just a few kilometers from Vinci, in the locality of Sant’Ansano in Greti, stands the Parish Church of Saint John the Baptist. The earliest record of the church dates back to a decree by Emperor Otto III in the year 998. Later, it was also dedicated to Saint Ansanus, whose body, discovered in Siena, stirred deep devotion. The church acquired a relic of the saint’s finger, which is preserved here.

 

The gable-fronted façade exhibits distinct Romanesque elements. Inside, the church features a rectangular floor plan with three naves divided by rounded arches supported by elegant columns, whose capitals display remarkable sculptural decorations.

Of particular interest are a 14th-century tempera altarpiece from the Giotto school, depicting Saint Ansanus and angels; a painting from 1625 by Sienese artist Rutilio Manetti, portraying Pope Alexander I freed from prison by an angel; two 17th-century marble holy water fonts; a 16th-century marble ciborium, with a painted door panel representing the Effusio Sanguinis (the outpouring of Christ’s blood)

Since 1680, the church has also housed the relics of Saint Boniface, kept in a glass-fronted urn on the right nave.

The church is open during religious services or can be visited upon request.

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Church of Santa Lucia a Paterno

The Church of Saint Lucy in Paterno is located along the road descending from the Montalbano ridge to the castle of Vinci, passing through the hamlet of Anchiano, the traditional site of Leonardo da Vinci’s birthplace. The first mention of the church in Paterno dates back to 1254.

 

From the early 16th century, the church served as the parish for a branch of the da Vinci family—one of Leonardo’s brothers, Guglielmo, was buried here, as requested in his will, which he dictated in the house of Anchiano in 1542. The church was destroyed in 1735 when its bell tower collapsed after being struck by multiple lightning bolts. It was rebuilt shortly thereafter just a few meters from the original site, using building materials salvaged from the ruined structure.

 

The church features a single nave with a rectangular floor plan, a raised choir loft, and a barrel-vaulted ceiling. The choir houses an altarpiece depicting the martyrdom of Saint Lucy, dating to the time of the church’s reconstruction, as well as a fresco on the vault showing the Coronation of the Virgin. The main altar is adorned with a 19th-century wooden crucifix, while the left altar is dedicated to Saint Lawrence.

 

The church is open for visits by appointment only and opens on special occasions or feast days.

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Church of San Pantaleone Martire

The Church of Saint Pantaleon in San Pantaleo is a place deeply connected to Leonardo da Vinci. Built in the early 1200s, over the centuries numerous architectural layers have given rise to a charming stone village surrounding the church. In particular, the church’s elevated geographic location offers stunning views of the Valdinievole, the first landscape ever depicted by Leonardo da Vinci.

 

San Pantaleo was also the home of Leonardo’s mother, the mysterious Caterina. The church and village thus represent a significant place from the childhood of the Genius.

With its simple, Franciscan-style appearance, the church consists of a single nave and contains 18th-century altars and wall frescoes that are yet to be fully restored and revealed.

Currently, the church is not accessible inside and can only be viewed from the outside.

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