Mugello Cristiano

The journey starts from the Monastery of Santa Caterina in the municipality of Borgo San Lorenzo (188 m), located in the historic center of the town. Guardian of a precious artistic and documentary heritage, survived the Napoleonic and post-unitary suppressions, the monastery was founded in 1516 with the authorization of Leo X, born from the initiative of the parish priest Damiano Manti, who linked it to the parish to ensure its sustenance. The first Dominican nuns arrived from Florence to educate the novices, who in 1518 took their solemn vows. The monastery developed by restructuring existing buildings, acquiring land, and enriching itself thanks to bequests and monastic life. Over the centuries, it underwent architectural transformations but preserved original elements, such as the cloister and Renaissance decorations. It houses works of art by Cesare Velli, Matteo Rosselli, and Michele Tosini. After various events, the monastery could return to being a cultural reference point if restored and made accessible, testifying to the strong bond between the Dominican tradition and the history of the village. Not far from the monastery, you can visit the Sanctuary of the Holy Crucifix, an important place of worship and historical testimony of the entire Mugello. Its origins date back to the 17th century when the community decided to build a church to house a miraculous Crucifix, at the center of deep popular devotion. The construction took place between 1641 and 1673, but the worship of the Crucifix dates back to the 1400s. The Crucifix, venerated for its alleged miracles, was initially kept by the Confraternity of the Corpus Domini, then the Company of the Blacks, which had an oratory on the site of the current Sanctuary. The growing importance of the cult led to the construction of a new church in 1714, completed in 1743, characterized by a Greek cross plan with a central dome. The earthquake of 1919 caused serious damage, but the restorations of 1927 restored the building, maintaining its 18th-century structure. Today the Sanctuary preserves the monumental main altar and Baroque furnishings, representing a symbol of faith and tradition for the community.

We leave Borgo San Lorenzo, heading towards Vicchio. Immersed among ancient paths traveled by wayfarers, we find the Chapel of Rabatta, a small jewel of spirituality and history. Built between the 13th and 14th centuries, it represents an example of rural religious architecture and maintains a connection with Pietro Nelli, a 14th-century painter of the Giotto school born in the area. It functioned as a place of worship for pilgrims and local communities, hosting frescoes and sacred artworks. Although many have been lost, the chapel remains a symbol of faith and culture, testifying to the intertwining of art and spirituality that characterized medieval Mugello.

Continuing along the path, we pass through the iconic Cimabue Bridge and following part of the thematic route dedicated to the painters who made these places famous, we arrive at the Church of San Martino in Vespignano. Located on the top of the homonymous hill, it has medieval origins and is dedicated to St. Martin of Tours. Once a suffragan of the parish of Borgo San Lorenzo, it is documented from the 13th century, although it may be even older. Tradition connects it to Giotto, who is said to have been born nearby, while his son Francesco was its prior in 1329. The church has a simple gabled facade, with a sturdy bell tower rebuilt after the 1919 earthquake. The single-nave interior houses a cross-vaulted choir, ancient frescoes, the altar by Dino Chini, and works such as the Madonna of the Milk by Paolo Schiavo. Among the artistic elements are a bronze statue of St. John the Baptist by Antonio Berti, a 15th-century tabernacle, and a wooden pulpit. The church also houses a restored 18th-century organ and a baptismal font in granite, linked to an ancient sacrificial stone. A few meters separate the Church of San Martino in Vespignano from another significant point, the Chapel of La Bruna, a Marian place of worship and a symbol of Mugellan devotion to Blessed Giovanni Bruni, born in Vespignano in 1234. According to tradition, he prayed in this chapel, restored in the 19th century. His remains were transferred to San Giovanni Maggiore in 1801, while one of his relics had already been venerated in Borgo San Lorenzo since 1723. The building houses a 15th-century fresco of the Madonna of the Milk, attributed to the workshop of Paolo Schiavo. To this day, the chapel remains a spiritual and historical reference point for the local community.

We continue along country roads. From the most open points, it is possible to see in the distance the peaks that surround the entire Mugello valley. We then enter Vicchio, the birthplace of Beato Angelico. In the center of the town, overlooking the lively Piazza Giotto, the Church of San Giovanni Battista represents a place of worship of considerable historical and artistic importance, closely connected to the life of the community and the figure of the saint with the same name. Dating back to the medieval period, the building has undergone numerous restorations and modifications over the centuries. The church, dedicated to the patron saint of Florence, reflects the deep devotion to St. John the Baptist, widespread in Mugello since the Lombard era. It houses works of art and liturgical artifacts that testify to the influence of Florentine artistic tradition in the area. We cross the bridge over the Sieve River at Ponte a Vicchio and, remaining on the right bank of the river, after a few kilometers, we reach Badia a Bovino (180 m), where there is a nowadays abandoned place of worship, the church of the eponymous village. The name "Bovino" could derive from agricultural activities or from Alboino, linked to the Lombard era. Founded around 1050, it was granted to the monks of San Miniato al Monte, then passed to the diocese of Florence in 1374. The Romanesque building, now in a state of disrepair, preserves 18th-century frescoes and a crypt of uncertain origin.

We continue near the Sieve River. After a few kilometers, we reach Dicomano (170 m), an important center for the entire area. Here stands the Pieve of Santa Maria. The origins of the building probably date back to the Lombard era, although the first documented mention is from the 10th century. The Marian title reflects the strong popular devotion and the central role of the parish in the religious and social life of the community. Located along the ancient communication routes between Florence and Romagna, it served as a reference point for pilgrims and merchants. Over the centuries, it underwent various restorations, preserving the original Romanesque structure. During the Renaissance, thanks to the intervention of Florentine families, it was enriched with works of art and decorations. In addition to its religious function, the parish was a gathering place for civil events and community assemblies. The building, with its imposing stone facade, features a three-nave interior with sandstone columns. Among the works of art preserved are a medieval baptismal font, a 15th-century fresco of the Madonna and Child, and a medieval wooden crucifix. According to legend, an ancient Marian relic kept in the church was carried in procession to protect Dicomano from natural disasters.

Leaving the town, we come across another building of great importance, the Oratory of Sant'Onofrio. The Oratory is linked to the veneration of the Madonna dello Spedale, a fresco of great spiritual and artistic value. Its medieval origins are intertwined with legends, including that of the sacred image carried by the waters of the stream. The current building, designed between 1792 and 1795 by the architect Giuseppe del Rosso, is an elegant example of neoclassical style, with a majestic facade with Ionic columns and a fan-shaped bell tower. The interior, decorated with stuccoes and marbles, houses works of art such as the Immaculate Conception by Lorenzo Lippi and the Miracle of St. Francis Xavier. The fresco of the Madonna, by an unknown author, is considered miraculous and venerated for centuries, attracting devotees from all over Mugello, including Bianca Cappello. Once associated with a hospice for pilgrims, the oratory has maintained a central role in the community's life. Restored between 1989 and 1995, it is now an important symbol of Dicomano's devotion and the rich artistic tradition of the area. Not far from the trail is the Badia ad Agnano, probably founded in the 11th century. Characterized by a Romanesque structure with medieval frescoes and a 14th-century wooden crucifix, it played a spiritual and cultural role in the area.

The abbey, which housed pilgrims and the poor, saw a decline from the 16th century but was restored in the 20th century, becoming a symbol of local history. Just before Carbonile, the nature trail begins, which after a stretch of ascent, leads us directly to the Oratory of the Madonna della Neve, made famous by the legend of the image linked to the figure of Mary.

The Legend of the Madonna della Neve

According to local popular legend, in ancient times, right where the chapel now stands, an image of the Madonna of extraordinary beauty and artistic value was found. Transported to the nearby Pieve of San Babila in San Bavello, it happened that, at dawn the next day, the entire area was covered by a miraculous and unexpected snowfall, precisely on August 5th. At the same time, the image of the Madonna mysteriously disappeared from the parish and was found, after a long search, in the same place where it had originally been discovered. Interpreting the event as a divine sign, the inhabitants decided to build an oratory to house and venerate the image.

A small deviation from the original path leads to the ancient Pieve of San Babila. Dating back to the 12th century, the Pieve is characterized by an austere facade in sandstone and a sober interior with a 13th-century marble baptistery. The church, dedicated to Saint Babila, a martyr bishop, played a central role in the religious and social life of the village, with annual celebrations that attract the community. Restored in the 20th century, the parish retains its historical and spiritual value, testifying to the Mugello tradition.

Continuing along the path, we pass through small clusters of houses until we reach Castagno d'Andrea (720 m), a small and charming village known not only for being the birthplace of Andrea del Castagno, a Renaissance painter of great importance, but also for being an inspiration for another artist, Pietro Annigoni.

After a few kilometers, we arrive at another strategic center, the gateway to the Casentino Forests National Park, San Godenzo. San Godenzo also boasts buildings linked to the Christian world. The Abbey of San Godenzo, in fact, is a masterpiece of Romanesque architecture with a strong connection to Dante Alighieri. Founded in the 11th century by Benedictine monks, it became a spiritual and cultural center thanks to the support of the Guidi Counts. The building features an austere facade, sculpted columns, and an evocative crypt. In 1302, it hosted a meeting between exiled White Guelphs, including Dante. Its strategic position along ancient communication routes made it a refuge for pilgrims. We are in the middle of Dante's Way, a thematic route that retraces the life of the Supreme Poet. We pass by the famous Acquacheta Waterfall, a 90-meter waterfall, and enter an area characterized by hermitages and forests.

The first structure we encounter is the Hermitage of the Toschi, also known as the Hermitage of Santa Maria. Located at an altitude of 904 meters, the hermitage dates back to the 11th century and was rebuilt between the 1920s and 1930s. It currently houses a farm and offers accommodations for hikers, keeping the church, which is still present and furnished. A few kilometers further down the descending path, we reach the second hermitage, the Hermitage of Gamogna (790 m). This building is a place rich in charm and spirituality. Located in the municipality of Marradi, it represents one of the oldest testimonies of monastic life in the region. Founded in 1053 by San Pier Damiani as a Benedictine female monastery, it soon became a significant spiritual center but was gradually abandoned. After centuries of decline, it was restored in the 1990s by Don Giuseppe Samorè, regaining its function as a place of prayer. Today, it welcomes pilgrims and visitors seeking silence and meditation.

We continue following the descending path until we reach Marradi (350 m), the town of Dino Campana. Here, you can visit the Church of San Lorenzo. In the heart of Marradi, overlooking Piazzale Celestino Bianchi, the church is an important historical and spiritual testimony. Dedicated to the Christian martyr, its connection to the territory dates back to Roman times, thanks to its proximity to the Via Faentina. Probably founded before the year 1000, the church suffered serious damage in the 1661 earthquake and was rebuilt in the 18th century with the support of Grand Duke Pietro Leopoldo. The current neoclassical building houses an imposing single nave with Ionic columns and a precious triptych from the 15th-16th centuries depicting the Virgin with Child between St. Lawrence and St. John the Evangelist. Among the preserved works are paintings by the Master of Marradi, coming from the Abbey of Santa Reparata. The church is also an identity symbol of the village: distinguished figures such as Dino Campana were baptized here. A plaque commemorates the Grand Duke's visit in 1777, a key event in local history.

We continue along the path shared with Dante's Way and after about 10 km, we arrive at the gates of Palazzuolo sul Senio (425 m). Among the structures linked to the Christian world, we find the Oratory of the Saints Carlo and Antonio (which today has lost its function as a place of worship and is intended for cultural activities, exhibitions, and events), and the Pieve of Santo Stefano.

The Oratory with the Engraved Benches

The Oratory of the Saints Carlo and Antonio is an elegant building of 17th-century origin. The building has retained its original structure and preserves valuable decorative elements inside. The altars are embellished with elegant stuccoes, while the 17th-century canvases testify to the influence of the Florentine painting school of the time. An interesting detail is represented by the 18th-century wooden benches, which bear the names of the donors engraved on them, in memory of the strong bond between the local community and the oratory. No longer used as a place of worship, the oratory is now a

In the heart of Palazzuolo sul Senio, the Church of Santo Stefano is the main place of worship in the village. Its structure has undergone numerous changes over the centuries, particularly in the 18th century, in the early 20th century and after the Second World War, taking on an eclectic architecture that blends different styles. A significant artistic contribution is due to Tito Chini, who in 1936 took care of some internal decorations, enriching the apse basin and the under-arches of the nave with works by the Fornaci San Lorenzo. Among the valuable elements, the polychrome stained glass window dedicated to Santo Stefano stands out, depicted with stones on his head, a symbol of martyrdom. The church also preserves paintings from the 16th to the 19th century, including “The Marriage of Santa Caterina” and “The Visitation”. Despite the transformations, Santo Stefano remains a spiritual and cultural point of reference for the community. local.

We leave Palazzuolo sul Senio behind us, and head south. We cross the Senio river at the height of the Sanctuary of the Madonna della Neve.

The first documented traces of the church date back to the 17th century, but its foundation is linked to a miraculous episode that popular tradition has passed down from generation to generation. Over the centuries, the sanctuary underwent expansions and restorations, taking on its current simple but evocative appearance, with a stone façade and a cosy interior, where an atmosphere of peace and spirituality reigns. Even today, along the paths that lead to the sanctuary you can find traces of old mule tracks used in past centuries. According to an ancient belief, the bells of the sanctuary rang spontaneously in case of imminent natural disasters or wars, as a divine signal to warn the population. Some elderly people in the village say they heard them ring without any explanation at crucial moments in local history.

The long climb that will lead to the highest point of the entire walk, Mount Carzolano, at 1184 m, still has surprises in store for us, such as the Hermitage of Santa Maria a Lozzole, one of the most isolated parish churches in the area. Founded in the 15th century as a refuge for hermits and wayfarers, it became an important religious center. During the Second World War it was involved in war events and was later abandoned. Thanks to the work of Don Giuseppe Samorì, it has been restored and today welcomes pilgrims and hikers. Located at over 1,100 meters above sea level, it retains the simplicity of mountain churches, with a stone façade, a bell gable and ancient monastic buildings. The fatigue of the road is partly mitigated by the presence of small bivouacs that are always open and can be used for refreshments during a break or for an overnight stay. In the space of a few kilometers you can reach refuges, not managed, such as the Castè, the bivouac i Piani, Capanna di Marcone and the refuge la Serra.

We continue to descend in altitude. The path is well marked and full of naturalistic ideas. Along the way we come across stone houses now abandoned and partly in ruins. The broad-leaved forest gives way to a more organized fir forest. We are close to the Badia di Moscheta. Founded in 1034 by San Giovanni Gualberto, it became a strategic religious and management center, welcoming pilgrims and traders along the routes between Tuscany and Emilia-Romagna. Its name could derive from the Latin “muschetum”, meaning wooded place. Over the centuries, the abbey was led by illustrious abbots and administered vast territories, but lost importance with the ecclesiastical suppressions of the 18th century. Today it houses the Museum of the Historical Landscape of the Apennines, which tells the story of monastic and rural life.

We continue following a forest road. the path is pleasant although uphill. we reach points where the view can range over the entire Mugello valley. Among these, one of the most evocative is Monte Pratone, with its 965 meters. Located between the Passo della Colla and the Passo del Giogo, it offers a view that ranges from the Mugello hills to the Tuscan-Romagnolo Apennines. To the south you can admire villages, churches and Lake Bilancino, while to the north the majestic Apennine peaks emerge. The mountain is covered with beech and oak forests, while the summit opens into large meadows ideal for a break. Rich in history and nature, Monte Pratone offers unforgettable views, especially at sunset or during the spring flowering.

The Legend of the Monk

A legend tells of a monk expert in herbal medicine and medicine, who was mysteriously poisoned for having discovered uncomfortable secrets. It is said that his spirit still wanders among the ruins of the abbey, leaving a light scent of aromatic herbs in the air. Other stories tell that, in ancient times, monks often had to face wolves and bandits. According to a popular tale, a group of pilgrims was saved from an attack thanks to the apparition of the Madonna, who made the marauders flee with a sudden flash of light.

After a long climb, a steep descent towards Grezzano begins. In the small village is Worth a visit is the church dedicated to Santo Stefano.

The Church of Santo Stefano in Grezzano is a small jewel of medieval architecture. Dating back to the 13th century, it stands out for its simple and harmonious structure, which reflects the devotion of the local community. The essential façade and the intimate interior create an atmosphere of peace and contemplation. Inside there are precious frescoes from the 14th to the 18th century, depicting biblical scenes and the life of Santo Stefano. For centuries, it has been a point of reference for the inhabitants, keeping tradition alive and offering a corner of spirituality immersed in Tuscan nature.

From Grezzano you can quickly reach another small village, Luco di Mugello. The Church of San Pietro is an important historical and artistic building, linked to the ancient Camaldolese female monastery. Founded in 1086 and consecrated in 1220, it underwent transformations between the 15th and 17th centuries, enriching itself with Renaissance elements. Between 1473 and 1476, a student of Giuliano da Sangallo expanded the structure, while in 1523 it hosted the painter Andrea del Sarto. After the monastery was suppressed in 1808, it became a hospital until 1989. The façade preserves a majolica lunette donated in 1930, inspired by Donatello's Madonna Pazzi. Restored in the 1930s, the church remains a point of reference for the community. local.

Not far from Luco, outside the path, the Church of Santa Maria a Pulicciano deserves a mention, which was part of a strategic medieval fortress, mentioned by Frederick II in 1220. Linked to the conflicts between Guelphs and Ghibellines, it may have hosted Dante Alighieri in 1303. The façade, restored in the nineteenth century, has a refined portal in pietra serena and a majolica lunette by Galileo Chini (1927). The interior, with a single nave and wooden trusses, preserves works by Balducci, Fidani and a Lamentation over the Dead Christ attributed to Benedetto Buglioni.

The last ecclesiastical building before reaching the capital of Mugello is the Church of San Giovanni Maggiore, with its characteristic Lombard bell tower, which represents an important historical and artistic heritage. Already mentioned in the 12th century, is dedicated to St. John the Baptist, a highly venerated figure in Tuscany. The interior preserves paintings and frescoes that tell the life of the saint, while the high altar and side chapels are enriched with valuable decorations. The bell tower, with a square base and octagonal structure, suggests a defensive function, thanks to the thick walls and strategically placed openings, testifying to the medieval past of the parish church as a place of worship and fortified refuge.

We are back in Borgo San Lorenzo, where the second part of the walk begins, a circular route that involves the western area of ​​the Mugello valley. Just outside the town of Borgo San Lorenzo, in the direction of Scarperia, located on a hill that shows the entire skyline of the largest center of Mugello, the Convent of the Capuchins is a place of great historical and spiritual interest. Built around 1578, it was born by the will of the villagers, who wanted a place of prayer managed by the Capuchin Friars Minor, known for their simple life and commitment to helping the needy. The annexed church preserves a wooden baroque altar and paintings of the Florentine school. Among the curiosities, it is said that a friar obtained with prayer the birth of a spring, the "Fonte del Frate", and that San Leonardo da Porto Maurizio stayed there.

Near Scarperia there is the Pieve di Santa Maria a Fagna. Like many parish churches in Mugello, the Pieve di Santa Maria a Fagna played a fundamental role in the religious and administrative life of the area. During the Middle Ages, it was an important center of evangelization, with jurisdiction over several minor churches. In the 13th century, it was involved in the conflicts between Florence and the local feudal lords, but with the rise of the Medici in the 15th century, it experienced a period of rebirth thanks to restorations and artistic enrichments. The building, in Romanesque style, is distinguished by its three-nave plan and a semicircular apse.

Inside there are notable works of art, such as a 15th-century fresco of the Madonna and Child and a 16th-century wooden crucifix. The parish church, located along important communication routes, was also a place of welcome for pilgrims and, according to tradition, for Franciscan friars during their preaching trips.

The monk who read the future

One of the most fascinating stories linked to the parish church tells of a monk who, in the Middle Ages, lived near the church and who, according to popular tradition, had the gift of predicting the future. Many inhabitants of Mugello went to him to ask for advice, but one day he suddenly disappeared without a trace, fueling the mystery surrounding him. According to an ancient local belief, the water from a spring near the church was blessed and endowed with healing properties. healing properties, especially for skin diseases. Even today, some locals still remember the stories passed down by their grandparents about this mysterious spring

Not far from the nearby Pieve di Santa Maria a Fagna, clearly visible from the entire central Mugello area, you can admire the Croce di Fagna, an imposing wooden cross that dominates the “Crocioni” area. It offers a beautiful view and is a place of devotion and religious events on particular dates, as well as a symbol of devotion for the community of Fagna and Scarperia.

You enter Scarperia, famous for its art and artisan tradition. In particular, it is known for the production of high-quality artisan knives, a craft that has its roots in the Middle Ages. The Propositura dei Santi Jacopo e Filippo, located in the historic Piazza dei Vicari, is worth a visit. Founded in the 14th century, it became the spiritual center of the community, overlooking Palazzo dei Vicari, a symbol of civil power. The building, renovated over the centuries, is known for its Gothic bell tower and works of art of great value, such as the panel by Matteo Rosselli. The church is enriched by a precious wooden choir and an imposing nave. Next to it is the Oratory of the Madonna dei Terremoti, linked to protection against natural disasters.

Another building of undoubted interest is the Oratory of the Madonna del Vivaio; built between 1724 and 1741 based on a design by architect Alessandro Galilei, it is an important historical and religious testimony. Built on land that hosted a nursery and springs, the place was known for a miraculous tabernacle of the Madonna and Child. Construction began thanks to fundraising promoted by the parish priest Domenico Romagnoli, after a miracle in 1723. The oratory, with a circular plan and a dome that diffuses natural light, preserves the miraculous image of the Madonna. The site, a symbol of popular devotion, also hosts commemorative plaques of the fallen of the First World War.

Just outside the town of Scarperia, you will come across the Church of San Gavino al Cornocchio on the way. Founded by the noble Ubaldini family, it is dedicated to the Christian martyr San Gavino. The building underwent modifications in the 17th century, but still retains its imposing façade with a sloping portico and Corinthian columns. Among its treasures, an altarpiece from 1345, attributed to Nicholaus, depicting the Madonna with two saints, stands out. Despite its current state of decay, the church represents an important historical and religious symbol, witness to local events.

You reach the Pieve di Sant’Agata, in the small village of the same name, an important stop along the Via degli Dei. The church is one of the oldest Romanesque churches in Tuscany, with origins dating back to the 10th century. Dedicated to Sant’Agata, a Sicilian martyr, the church played a central role in Mugello during the Middle Ages. Its imposing façade, with blind arches and a sculpted portal, reflects medieval Tuscan art. Inside, it houses a Romanesque baptismal font, Renaissance and Baroque paintings, and a medieval crucifix. Next to the church is a cloister and a Museum of Sacred Art, with works that tell the religious history of the area.

After walking through the alleys of Sant’Agata, you head towards another historic village, Galliano and its Pieve dedicated to San Bartolomeo. The origins and history of Galliano are closely linked to the presence and feudal activities of the Ubaldini in the westernmost part of Mugello. The noble family founded the village in the 11th century as a strategic control point. The site, initially a female monastery and then a Basilian monastery, was expanded in the 12th century with the church, consecrated in 1163 by St. Thomas of Canterbury. The complex underwent several transformations, including restorations in the 18th and 19th centuries. The church was rebuilt between 1845 and 1847 with a sober architecture. Among the works of art are the Baptismal Font from 1314, 19th-century frescoes and a panel from 1257 by Margaritone d'Arezzo. The Pieve suffered damage in 1963 with the collapse of the ceiling, destroying the frescoes by Tito Chini.

We leave Galliano behind and crossing the typical Mugello landscape with its cultivated fields, we reach the Church of Santa Maria a Soli. Documented since 1258, it was probably linked to the Ubaldini family. The church, simple and rustic, has a single-hall plan with a gabled façade in sandstone. Over time, it has undergone transformations, including the renovation of the bell tower and the presbytery. The interior is characterized by a brick altar, a canvas of the Madonna, and other eighteenth-century details. The church, now a subsidiary of the parish of San Bartolomeo, retains a suggestive and tranquil atmosphere.

Not far away we find one of the most iconic structures in the whole of Mugello, the Convent of Bosco ai Frati. The building has Lombard roots, but its history is strongly linked to the Medici family who supported its restoration and artistic enrichment. Founded as a hermitage in the 7th-8th century, in the 13th century it became a Franciscan center. In the 15th century, Cosimo de' Medici financed the renovation entrusted to the architect Michelozzo. Bosco ai Frati became an important religious and cultural center. The convent houses significant works such as the Crucifix by Donatello, Renaissance paintings and a library with historical manuscripts. Today it preserves a precious artistic and religious heritage.

We arrive at San Piero a Sieve, an important stop on the Via degli Dei. Worthy of note is the Pieve di San Pietro, with its over a thousand years of history; it is one of the most significant places of worship in Mugello. Founded in the 11th century near a medieval crossroads, it became the religious center of the village, which developed around it. The parish church had an important baptismal function and, over time, was enriched with works of art, maintaining its importance during the Medici rule. The Romanesque structure, with a sober façade, columns in pietra serena and wide naves, preserves frescoes, Renaissance paintings, a stone baptismal font and a medieval wooden crucifix. The parish church was also witness to historical events, frequented by illustrious figures such as the Medici and, perhaps, San Giovanni Gualberto. Legend has it that during wars, documents and precious objects were hidden in the cellars to protect them from raids. Nestled among the rolling hills, the Church of San Niccolò a Spugnole is a hidden gem. The name "Spugnole" derives from the particular conformation of the land rich in water springs. The church, in Romanesque style, retains a simple façade, a semicircular apse and a bell tower. The interior, with a single nave, features sculpted capitals, Florentine frescoes from the 14th-15th century, and a medieval wooden crucifix. The church was also frequented by the Medici, increasing its historical value.

The Medici family

One of the most fascinating aspects of the Pieve di San Niccolò a Spugnole is its connection with the Castello del Trebbio and the Medici. It is said that Lorenzo the Magnificent and other members of the Florentine family went to this church to attend religious services during their stays in Mugello. In addition, some popular legends tell of secret passages that connected the parish church to the nearby castle, used by the Medici to move safely between their possessions. Although there is no certain archaeological evidence, these stories fuel the mysterious charm of the place.

We continue along a comfortable path that coincides with the route of the Via degli Dei. In a panoramic position we find the Badia del Buonsollazzo, founded in the 11th century by Benedictine monks. The name "Buonsollazzo" could derive from the Latin "bonus solacium", meaning "good comfort", a reference to the serenity of the place. Over the centuries, the abbey became a center of great religious and cultural importance, hosting figures such as San Giovanni Gualberto and Abbot Lorenzo Corsini. Its library contained precious illuminated manuscripts and the monastery attracted artists and men of letters. After a period of splendor, in the 19th century it suffered decline and was suppressed. Today, sadly in ruins, it retains an aura of mystery and remains a symbol of spirituality and art. Among the works it housed were 15th-century frescoes, a wooden crucifix and inlays from the Florentine school.

Not far from the Badia di Buonsollazzo, perched on the top of one of the most evocative reliefs of the Mugello stands the Sanctuary of Montesenario. The name "Montesenario" derives from the six mountains that surround the sanctuary, but is also linked to the founders, who retreated here for a life of prayer. Founded in the 13th century by the Seven Holy Founders of the Order of the Servants of Mary, the original church was built in 1250, followed by extensions that increased its value. Today, the sanctuary houses works of art such as the 14th-century wooden Crucifix and the statue of Our Lady of Sorrows. In addition, the Servite friars are known for their herbal tradition, which includes natural remedies and liqueurs such as Gemma di Abete. Montesenario remains a place of prayer, beauty and history, still attracting pilgrims and visitors today in search of peace and spirituality.

Another building, the Sanctuary of the Madonna del Sasso, also enjoys an excellent view. Situated on a rocky outcrop above Santa Brigida, it is a place of worship of great beauty and spirituality, a destination for pilgrims and tourists. Its name derives from the rock on which it stands, a symbol of protection. Its history begins in the 13th century, although the site may have been a place of devotion in earlier times. Tradition has it that the construction of the sanctuary was inspired by an apparition of the Madonna. Over the centuries, the complex has It was enlarged and enriched with works of art, including 15th-century frescoes and baroque decorations. Important religious figures, such as Father Giovanni da Fiesole, contributed to the fame of the sanctuary. Even today, the Sanctuary of the Madonna del Sasso is an active center of worship and a cultural attraction, known for its panoramic position and its historical charm, a symbol of faith and tradition.

We are getting closer and closer to the destination of the walk. A few kilometers from the arrival, we find ourselves in front of the Pieve di San Cresci in Valcava. The church is one of the oldest and most significant places of worship in Mugello, linked to the memory of the martyr San Cresci, who in the 3rd century AD spread Christianity in the region. The parish church marks the beginning of the conversion to Christianity in Mugello, replacing pagan cults. Its strategic position at the point of passage between the Mugello valleys made it an important religious center. Over the centuries, the building was expanded and restored, enriched with artistic works from different eras, including medieval frescoes and Renaissance paintings. The church became a spiritual and cultural reference point, frequented by pilgrims and devotees. Today, it retains an ancient charm and unique beauty, with its baptismal font and sacred works of art. A visit to the Church of San Cresci in Valcava offers an opportunity to reflect on the Christian history of the area, immersed in a suggestive natural landscape.

Worthy of mention, although no longer accessible due to the risk of collapse, is the Chapel of San Cerbone, located near the parish church of San Cresci in Valcava, a small but important place of worship, dedicated to San Cerbone, bishop of Populonia and patron saint of Massa Marittima. Built in ancient times, the chapel offered refuge and prayer to pilgrims along the paths of Mugello. Its history and its connection with the local religious tradition continue to live on in the hearts of visitors. Made of stone with a simple structure, the chapel represents an example of rural spirituality. The last structure before entering Borgo San Lorenzo is the Church of Santa Maria a Olmi. Its origins date back to the Middle Ages, when it became a center of worship for the local community. The name "a Olmi" derives from the presence of centuries-old elm trees in the area. Over the centuries, the building has undergone architectural changes while maintaining its original structure, remaining a spiritual and cultural reference point. The church houses works of art from the Florentine school, such as an altarpiece depicting the Madonna and Child, frescoes and sacred decorations, as well as liturgical furnishings in carved wood. Its importance goes beyond spirituality, having also been a place of social aggregation. Over time, nobles and patrons have contributed to its maintenance, enriching it artistically.

Once we have crossed the bridge over the Sieve River again, we close the second ring of this long, but at the same time fascinating and rich in history, journey.