The presence of minerals rich in iron, gold, silver, lead and copper in the “Colline Metallifere” (metalliferous hills) area has attracted human settlements from the most remote eras: first the Villanova culture, then the Etruscans, from the 9th century B.C., took advantage of the underground mineral resources, creating jewellery and various useful objects. There is little testimony of the Roman presence, although some agricultural settlements have been discovered. Later, barbarian invasions and pirates led to depopulation and the abandonment of agricultural and mineral activities in this unhealthy marshland, forcing the inhabitants to escape inland and isolate themselves up to the time of the medieval fortifications. The most magnificent period for mining activity in this area was between 1200 and 1350, which coincided with a period of social and economic well-being, an increase in the population and the birth of the Free City of Massa Marittima. Under the rule of the Medici, then the Lorena, the exploitation of the mineral deposits continued with alternating ups and downs: the Italian Unity reduced investment in road conditions, infrastructure and land reclamation; towards the end of the 19th century the Montecatini Society began to operate in the area and during the Fascist period the mining economy provided the main source of employment.

From the 1980’s on, the mines were gradually closed down.

Massa Marittima developed about 1000 A.D. around the urban growth on the slopes of Monteregio Castle, the Bishop’s residence. In 1225 it became a Free City, liberating itself from the Bishop’s domination and transforming itself into a real urban centre, with a public square (“piazza”) where meetings and markets could be held. In that period of social and economic well-being, following an increase in the productive activity of the mines, Massa Marittima produced the monuments and artistic masterpieces which rightly led it to be known as the “Art Capital of the Maremma”: the Cathedral dedicated to Saint Cerbone, a splendid union of Roman and Gothic styles; the Palazzo del Podestà (“Podestà Palace”) which today houses the Archaeological Museum, where the Maestà (“Majesty”), painted by Ambrogio Lorenzetti for the Saint pietro all’Orto Church is preserved; the Palazzo Comunale (Town Hall), even today home of the town council; the Palazzo dell’Abbondanza (“Abundance Palace”) with the Fonte Pubblica (public fountain) whose recent restoration has brought back to life the 13th century fresco “Albero della Fecondità” (Fertility Tree), unique of its kind; the San Pietro all’Orto convent, recently restored home of the city’s first church, with the Antique Mechanical Organs Museum, run by the “S. Cecilia Museum Foundation” and holding several rare and wonderful examples of organs and pianos dating from between the 17th and the 20th centuries, on the first floor; the convent dedicated to Saint Agostino with its beautiful cloister; the Torre del Candeliere (“Candlestick Tower”) linked to the Sienese walls by a spectacular round arch; the Palazzina della Zecca (“Mint Palace”), where for several years Massa Marittima minted its own coin, the “grosso massetano”. Besides these, in those years Massa Marittima produced the “Mine Code”, the first European example of a norm standardising the activities and techniques of mineral exploitation, and workers’ rights.

In 1335 the city entered into the orbit of Siena, and thus began its decline, which lasted until the era of the grand duchy of Tuscany. In the 18th century, at the time of the Lorena dynasty, the extraction industry enjoyed a comeback, but by the 1970’s and 1980’s reached its final crisis. The city’s slow but progressive economic recovery came about thanks to the value given to its rich cultural resources: its numerous museums (Archaeological Museum, Mine Art and History Museum, Mining Museum, Explanatory Centre of Contemporary Art, the Antique Oil Mill), its important recurring initiatives (“Lirica in Piazza”- operatic works taking place every August in the evocative atmosphere of the Cathedral’s church square; the “Toscana Foto Festiva” attracting photographers of inernational fame with its photographic showx, workshops and seminars; the “Balestro del Girifalco” (gyrfalcon cross-bow shoot), a historic commemoration in 14th century costume in the form of a competition between 24 cross-bow shooters rom the three main districts of the city, taking place in May and August) and the natural beauty of its territory invite thousands of visitors to return year after year.

Follonica is a modern seaside resort looking out onto the gulf bearing the same name, where Leopoldo II di Lorena wanted to establish a great iron foundry. The magnificent entrance gate to the ex iron factory and the proanos (vstibule), choir and pulpit of San Leopoldo church remain as testimony to the iron-working industry.

Gavorrano is a medieval mining centre where the pyrite extraction industry ceased only a few years ago. On the outskirts, the remains of Castel di Pietra (Pietra Castle) are not to be missed. Here, according to tradition, Pia de’ Tolomei was shut up and then killed by her husband Nello Pannocchieschi, as narrated by Dante in the fifth “Canto del Purgatorio”. The “Salto della Contessa” (Countess’ Leap) is a historical commemoration of Pia the Countess which takes place every August. Worth noting, the San Biagio Church at Caldana attributed, according to recent studies, to Michelangelo. Many still-inhabited medieval towns offer spellbinding views over the Maremma.

Sticciano, quoted as being under the ownership of the Aldobrandeschi in 996, and conquered by the Sienese in 1328, retains a 12th century Roman church dedicated to Saint Concezione.

Roccastrada, where the old town centre develops along the ridge of a rhyolitic rock “terrace”, the charming Grapevine and Wine Museum is to be found in the old Colò subway, in Piazza dell’Orologio. Other points of interest are the 13th century San Niccolò Church, the Concordi theatre, constructed in the 19th century, and the fascinating decorative details of several noble residences (doorways and fireplaces sculpted in trachyte, the local stone).

Montemassi, whose old town centre has retained the appearance of a compact hamlet at the foot of its gothic-style castle, has been made famous by the fresco portraying the castle during the assault lead by Guidoriccio da Fogliano in 1328. The fresco, attributed to Simone Martini, is preserved in the Palazzo Pubblico at Siena. The Sant’Andrea Apostolo Church, with some of its original furnishings still intact, is also well worth a visit.

At Roccatederighi, (possibly the medieval Rocca Norsina), there are the remains of the dungeons in the Torre dell’Orologio. The entrance to the old town centre is an arched doorway forming an opening between the rocks and surrounding town walls.

Sassofortino was founded by the survivors of the destruction of Rocca di Sassoforte by the Sienese in 1330. Inside the hamlet there are several remarkable doorways sculptured in rhyolite, with interesting decorations and figurative motifs. Sassoforte castle which was first cited in 1076 belonged to the Counts Aldobrandeschi, who sold it to the city of Siena for 5500 gold florins; the latter, fearing the strong position of the stronghold, ordered the town walls and the dungeons to be destroyed. The remains of the fortification occupy the entire circumference of the rhyolitic platform at the summit of Sassoforte, and bear witness to the noteworthy dimension and high quality of the structure of the battlements. There are numerous archaelogical sites to be visited in the area, for example at Roselle, Populonia and Vetulonia, and at Lago dell’Accesa (“Accesa Lake”) there is a recently established Etruscan Archaeological Park, with remains of tombs from the 9th century onwards, and of 6th century dwellings. The Cistercian Abbey at San Galgano and the adjacent chapel of Montesiepi with the sword in the rock are about one hour’s travel from Massa Marittima. The Art cities of Siena, Volterra and San Gimignano are only a half-day excursion away.