The Museum of the Collegiata, precious small but, is found in the XVIII century Palazzo Arcipretale, the heart of the historical center of Chianciano Terme.
The first room accommodates pieces of greater importance, between these is the Polittico, unfortunately lacking the cuspid, that it has to the center the figure of the Madonna with Child in action to bless and the guardian Saints St Michele Arcangelo and St. John Batiste on the left and St.Macario and St. Bartolomeo to right.
In the high part there are four images smaller than other saints, on the left St.Stefano and St. Secondiano, to right St. Ireneo and St. Silvestro.
All the figures are inserted in of the arched ones of gotico type and on deep gold. The painting is attributed to Master of Chianciano.
Master of Chianciano was a disciple of Ugolino di Nerio, follower assets of Duccio di Boninsegna, therefore he would come to find himself on the wake of the great senese painter, of which he interprets the language in superficial and provincial way somewhat. Various works are reported, between which most archaic would be the Madonna of the Cardellino, framed from ducceschi angels, than Master of Chianciano it painted in the 1329 on a great cuspidata table that currently is conserved in the Museum of the Propositura di Pomarance (Volterra).
Much similar one to this is the Madonna with Child who figure in the Art Gallery of Siena (thought posterior to the 1339), one moderates on table anch' cuspidata it, coming from from the old Feminine Conservatory of Saint Girolamo in Montepulciano, therefore to leave dared stylistically to the supposition, being similar in the rhythm of the figure of the Vergine, in the way with which it moves the draperies and light-dark the faces, sometimes like light thesis and it swells, also to the base of the neck, it is work of the same local painter who painted this Polyptych.
Two refer also fresco, representing an Assumption of the Vergine, than it can be admired in the Church of the Collegiata di Chianciano Terme and the Madonna with the Saints who were uncovered, in 1933, under plaster of the Church of the Saints the Leonardo and Cristoforo di Monticchiello (Pienza).
Between the two windows, on the glass partiten one that perhaps reflacted the light in one room of the ancient Communal Palace, grows tall the figure of San Giovanni Batiste, patron of Chianciano, with the Cross in the right hand.
Its line, vibrating and suffered, is rendered more incisive from the colors of the E glass catches up a dramatic effect, especially in the torment of the face.
E' commonly attributed to the workshop of the Pollaiolo, the two siblings the Piero and, greatest, Antonio, active in XV century Florence, but not it would not seem painters flung to advance the hypothesis of a job exited from the circles of the contemporary Verrocchio, to which us it seems can get near with one sure probability for one modulation vibrated and suffered from the line.
Of documentary and curious interest it is the table with Saint Giovanni Batiste that supports the ancient Chianciano. (Image of presentation up)
This painting, operates of a popular painter, nearly sure local, of the sec. Perhaps XVI, processionale banner had to be one.
Tightened from the circles of the ancient ones and merlate it walls, you acknowledges Chianciano, on the left with the Fortress, then turreted, then the public square with an other tower, and therefore, towards right, Communal the Palace still merloned and turreted, and finally the Collegiata Church, than it is introduced somewhat various from the current one, for the facade with the rose-window.
Interesting is also the table that represents the Madonna with Child who after to have had several and enticing attributions, comes reported hour to Lorenzo di Niccolò Gerini, painter florentine (1376-1440) son and student of Niccolò di Peter Gerini, influenced from Aretino Spinel and Lorenzo Monaco.
In the same room there are two display windows; that one to the center of the room, where to some rich sacred vestments and that one to wall are exposed, where they are some ancient coppers, reproducing local works of art, some remarkable representing piece of sacred jeweller’s art of senese school and a XVIII century sculpture in painted wood the Madonna with Child who goes back to the first decades of XIV the century realized from one smaller artist who operated under the infuence of the sculpture of Arnolfo di Cambio.
In the second room a beautiful fourteen century Crucifix in shaped wood is found, coming from from the Collegiata di Chianciano, attributed to the senese school of the sec.XIV and more just to an artist of the circles of Duccio di Boninsegna, the Master of Saint Polo in Red, whose reflected it is particularly alive in the high part of the painting, in the round one with the Eternal Father, where more obvious desire of that hellenic beauty appears that a lot searched Duccio.
To the term of the arms of the cross they are painted, the "Madonna Addolorata" on the left and " Saint Giovanni " to right. Moreover many XVI century chorales, sacred parameters, silvervares, some burlaps are conserved in the Museum of the Collegiata to attribute to i centuries XVII and XVIII and some rests etruscan, like small urns, fragments of ‘buccheri’ and terracotta figure that they bring back to the origin pre-Roman of Chianciano.