who we are

The Opera della Metropolitana di Siena is chiefly concerned with the care, management and promotion of the city's Cathedral complex.
In institutional terms it is a Fabbriceria ONLUS (a not-for-profit trust tasked with caring for ecclesiastical property), it enjoys full legal status, and it is run by a Board of Directors, a Rector and a Secretary.
The Board comprises seven members, five of whom are appointed by the Interior Ministry and two by the Diocesan Ordinary, and it elects the Rector from among its members.

Board of Directors

rector:
Dr. Gian Franco Indrizzi
deputy rector:
Don Andrea Bechi
Secretary:
Avv. Silvia Verdoliva
Auditor:
Dr. Maurizio Ravenni
Board members:
Dr.ssa Elisa Bruttini
Dr. Alfio Lorenzetti
Avv. Roberto Martinelli
Arch. Annalisa Pisaneschi
Mons. Giovanni Soldani

our history

The Opera della Metropolitana di Siena, which is known to have been active since at least 1180, is one of Italy's – and indeed Europe's – oldest institutions. By the middle of the 13th century it appears to have been well structured on the institutional level with an independent bureaucracy, a considerable amount of property and an administrative seat of its own. The administration was chaired by an Operaio, or "chief worker", aided by a group of advisers and a clerk tasked with keeping the account books, although the clerk was replaced by a fully-fledged treasurer (the Camerlengo, or Chamberlain) in 1362. The structure and functions assigned to the Opera in the 14th century were radically reformed in 1545. The Operaio was replaced by a Rettore, or Rector, who was elected by the highest city authorities together with a council of nine Savi, or Wise Men, one of whom was selected from among the Cathedral's own canons.

The 16th century regulations were to remain in force basically throughout the modern era, the only major change being that the Rector's appointment became a prerogative of the Grand Duke of Tuscany. In the final decades of the 18th century the grand dukes changed the Opera's setup several times before finally abolishing the office of the Wise Men and entrusting the Rector with full administrative responsibility, in conjunction with a budget officer who kept the Opera's accounts and a chancellor who handled its bureaucratic affairs. After the unification of Italy in the 19th century, the Opera del Duomo di Siena became subject to the legislation of the new Italian state like every other Fabbriceria

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