OPENING HOURS
Daily 9 am – 5 pm
The above opening hours may be subject to change due to the needs of the Diocese
Holy Mass till 4.10.26 Sunday 11 am
The construction of the Cathedral began in the 11th century and its structure has been modified throughout the centuries until it reached its final form at the beginning of the 14th century. For this reason some architectural elements have been removed over time and some of them are now on display in the Museumskomplex of San Pietro all’Orto. It is a remarkable example of Romanesque-Gothic architecture and quite a good number of famous artists took part in its construction: Giovanni Pisano, Goro di Gregorio, Segno di Bonaventura, Giroldo da Como and Duccio di Boninsegna.
the Cathedral stands at the top of a large and impressive flight of steps, dominating the whole Garibaldi Square from above. The façade is in the Pisan style, full of columns, arches and statues by the famous sculptor Giovanni Pisano. Above its main portal there is an architrave with a bas-relief representing San Cerbone’s life, the bishop of Vetulonia and patron saint of Massa Marittima.
In every sacred building, the altar is the centre and takes on a special significance in the overall view and in the celebration. The altar must be unique, because it is the symbol of Christ, and it must be made of stone, to remind us of Christ, the ‘Stone’ on which the Church is built. Ivan Theimer is an artist born in Moravia. In his early twenties, he left Czechoslovakia and moved to France where he completed his art studies. He currently lives in Paris, but is frequently in Italy, in Pietrasanta, where the artisans foundrymen and marble workers he works with are located.
The apse was extended from 1287 onwards in the Gothic style, incorporating some Romanesque elements, probably under the direction of Giovanni Pisano. The bell tower, built in the Lombard-Romanesque style between the 12th and 13th centuries, was extensively restored, and its upper section was almost completely rebuilt.
Inside, the Cathedral is divided into three aisles separated by travertine columns. Some capitals at the top of the columns display stylistic features associated with Giovanni Pisano. The Cathedral houses numerous paintings and masterpieces, including the marble Ark of Saint Cerbonius by Goro di Gregorio (1324), one of the finest examples of Gothic sculpture in Italy.
Another noteworthy work of art is the travertine Baptismal Font by Giroldo da Como (1267), surmounted by a marble tabernacle added in 1447. The Maestà by the Sienese artist Duccio di Buoninsegna (1316), the Crucifix by Segno di Bonaventura and the Crucifixion by Ambrogio Lorenzetti are all outstanding works of art displayed on the walls.
A Special Architectural Feature
As can be seen, the Cathedral does not face Piazza Garibaldi directly but is instead positioned transversely across the square. Because of its unusual orientation, the architect resorted to a perspective trick: the columns of the façade are arranged at unequal distances from one another. This creates an optical effect whereby, when viewed from the centre of the square, the façade appears perfectly symmetrical.
Further Information
Ivan Theimer’s Altar in the Cathedral of Massa Marittima
In every sacred building, the altar is the focal point and holds a special significance both within the overall architectural setting and in the celebration of the liturgy. The altar must be unique because it is a symbol of Christ, and it must be made of stone as a reminder of Christ, the “Stone” upon which the Church is built.
Ivan Theimer is an artist born in Moravia. In his early twenties, he left Czechoslovakia and moved to France, where he completed his art studies. He currently lives in Paris but frequently works in Italy, particularly in Pietrasanta, where the foundries and marble workshops with which he collaborates are located.
In the Cathedral of Massa Marittima, working within the limited space of the presbytery, the artist had to carefully determine the dimensions, materials and position of the altar, establishing a dialogue with antiquity. The materials used are travertine and bronze, chosen so as not to clash with the marble of the 17th-century altar in the background.
The stone used is cavernous travertine from the same quarry near Massa Marittima that supplied the building material for the Cathedral. The stone is more than five million years old.
The tradition of the “sacrifice” offered upon the stone of one’s own land is evoked in this altar. Its stone is adorned with lapis lazuli, small precious stones and granite from Israel and Egypt, as well as with small texts reproduced by laser from codices and papyri.
In Christian tradition, the sacrifice of Jesus is associated with the sacrifices of saints and martyrs. The relics of Christian saints and martyrs have been placed in a compartment within the central column supporting the altar.
The altar table has a corresponding stone set into the floor, which supports the columns. Symbolically, this represents the stone of the tomb of the Resurrection. The altar is supported by seven columns.
The number seven is linked to Jewish culture and encompasses the numbers three and four, which represent absolute perfection and permanence through time. Seven therefore symbolises fullness.
The seven columns are decorated with various plant and animal motifs: the vine, wheat and fish, drawn from biblical tradition; reproductions of medieval codices relating to the celebration of the liturgy and reproducing liturgical texts; and animals associated with the tradition of Saint Cerbonius, patron saint of the diocese to which the Cathedral is dedicated, such as the goose, the bear and the deer.
There are also animals such as the tortoise and the snake, drawn from the Patristic tradition, which reinterprets elements of pagan tradition.
These two animals deserve particular attention because of their symbolic significance.
The tortoise is an animal rich in symbolism. In China and India, precisely because of its shell, it was regarded as an embodiment of the “world”, representing the earth, conceived as flat, and the vault of heaven. Its shell, divided into 24 sections, provided elements for divination and was used to interpret the prospects for the annual harvest.
The tortoise, taking refuge inside its shell, symbolised the strength of domestic virtues. The laying of a large number of eggs represented fertility, while its long lifespan symbolised eternity. For this reason, it was revered as a sacred animal and described as supporting the world, whose foundations rested upon its powerful shell.
Drawing on these ancient legends and rituals, Theimer placed the tortoise as a support for the columns bearing the altar. The snake between the tortoise’s legs is a clear reference to ancient beliefs concerning the animal’s immortality: by shedding its skin, it appeared to renew and regenerate itself.
Through the depiction of these two mythological animals, Theimer intended not only to express the idea that the Eucharistic Sacrifice represents the new and eternal covenant, but also the overcoming of ancient sacrificial traditions.
by Giovanni Santucci – Bishop
