St. Francis' Friary-According to tradition, the friary was founded by St. Francis from Assisi and has been enlarged and rearranged over the centuries: Waddingo, the historian, writes in his annals "Seraphicus Pater venit Scytonium non longe a Clusio anno 1212", ascribing the foundation of the Friary to St. . Francis in person who left it to the faithful Blessed Egidio. At the beginning simple shelters of were placed, then the Cetonese population decided "they needed a more adequate place where to rest": so they built a little Church and a little Friary with eight cells. We do not know if this story is authentic, but there is certainly something true: the presence of St. Francis in the surroundings of Sarteano is documented in the Franciscan sources and there is among the first Franciscan friars a certain "Guidus Scytonesis" (it was probably the Blessed Guido Lucaroni from Cetona, Blessed Egidio's disciple). The doorway to the friary goes back to 1500 and there is this inscription on the architrave: DOM. PORTA A GETTUMULU PER FRANCISCE DIENOMEDES - VISITA 1505. From the door you can go to a paved cloister: in the middle there is a large underground cistern for rainwater.The portico encloses the cloister and shows some reliefs on the capitels of the left columns. The Church, placed in front of the doorway, emerges from the columns and shows a style dated back to 1500. On the left of the cloister, after the opening to a wide and very tidy wood, there is an ancient and tiny church. The remaining structure is represented by constructions overlapped over the centuries. The visit to the ex-Friary must be asked to the "Comunità di Mondo 

 
    Belverde Hermitage- The Belverde Hermitage (or Stone Hermitage, as cited in the old documents) rises at the base of an enourmous travertine rock, submerged by holm-oaks and secular cypresses. The oldest part of the structure is composed of three overlapped churches, whose foundation probably goes back to 1000. Characterized by only one nave, barrel vaults and round arches, the churches were perhaps connected to a community of quarrymen and stone-cutters who lived in the surroundings: some tools, such as pickaxes, anvils and hammers are carved in low relief on the portico capitals of the Lower Church. In 1367, with Henry IV's diploma, Cetona and a lot of territories were given to William Beaufort and the Montemarte family from. Orvieto made donations to the Belverde Church, maybe to save the local property. Niccolò, member of this family, is commonly considered as the founder of the friary which was built close to the Churches the same year. In 1375 the possession of Cetona and the surrounding territory went to the Montemartes again with Ugolino, Count of Corbara. Some years later Francesco Montemarte commissioned the frescoes of the Churches to artists of the Orvieto school who painted them between 1390 and 1391:the family coat of arms with lilies in red field painted in the Saviour's Church still testifies this commission. It is possible to recognize the style of Cola Petruccioli in the Lower Oratory and of Piero di Puccio and Andrea di Giovanni in the Higher Churches. These three painters were talented apprentices and collaborators of Ugolino di Prete Ilario in the execution of the frescoes in the "Cappella del Corporale" in the Orvieto Cathedral. Then the hand of another painter of the Orvieto school is present: he is anonimous and known as the "Fourth Belverde Master". The lower Oratory, consecrated to the Blessed Virgin Mary, seems almost completely frescoed by Cola Petruccioli di Petrucciolo who realized a lot of subjects linked to the Virgin, alternated with other scenes. In the Higher Church consecrated to the Saviour, there is an organic series of frescoes showing Christ's life. The painters who worked in this Oratory were Piero di Puccio, Andrea di Giovanni e the "Fourth Belverde Master". The six scenes of Magdalen's life on the vault of the adjacent Oratory of St. Mary Magdalen are ascribed to Andrea di Giovanni. Moreover it is possible to admire a valuable Via Crucis composed of fourteen 1700 tiles of Senese school which were inspired by prints coming from North Europe.

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