The important centre of the Tuscan hinterland lays upon a hill and boast ancient origins.
It was one of the most important Etruscan centres and then a strategic knod of the Sacred Roman Empire, crossroads of commerce exchanges and the seat of precious witness of the past such as the Amphitheatre, that has lasted untill nowadays in good conditions.
Very well known were its foundries  and the artistic factories of red painted jars (so-called coral jars), whose technique of realization spread out all over the Roman World.
In the Middle Age Arezzo was a free Commune where the interests of Ghibellino party often prevail against the close city of Firenze of a firm Guelfa tradition.
Several struggles among Monteaperti (Siena province), Pieve al Toppo (Arezzo prov.) and other important had the GHibellinos as always winner until 1289 in Campaldino beneath Poppi village (Arezzo); the victory of Guelfos against Ghibellinos in that battle (where the bishop of Arezzo, Guglielmo Ubertini died) awarded Firenze and Siena the possession of great part of the Arezzo area. The alternation of the bishops Pietro Tarlati and his brother Pier Saccone caused highs and lows in the economic and social life of the town. In the same year 1384, under the Seignory of Tarlatis, that was left to Firenze again, Arezzo lost its cultural and artistic autonomy along with its independence.
Between the Middle Age and the Renaissance in Arezzo Piero della Francesca is entrusted of the frescoes of the choir inside the church of Saint Francesco; since the assignment that has been appointed in 1453, the notorious cycle of the Legend of the True Cross was born, that is one of the chefs-d'oeuvre of the Italian and Universal art that has registered millions of visitors up to nowadays. In 1500 Arezzo was dominated by the ecleptic figure of Giorgio Vasari (1511-1574), architect, painter, historiographer of art, counsellor of Granduchy and so referee of the Tuscan artistic life (see Pitti Palace in Firenze).

The Cathedral, the Commune Palace and Medici Fortress dominate the city. From up there towards downtown and to the city Walls the main streets branch out.
The higher part of the city preserves a particular medieval look. The Cathedral upon the top of the hill preserves some important artworks inside, among them there are the Maddalena by Piero della Francesca and the stained glass windows by Guillaume de Marcillat.
Saint Maria della Pieve is the most important romanic church in Arezzo area (12th century) and certainly the most featuring in the city where it was built on the eve of free Commune.
Its bell tower, so-called "of the 100 holes" for the several matched double lancet windows is one of the emblematic elements in Arezzo