tjungarno (right bank). PISA. 60. Route. 435
and Charity, and on the base, alío-reliefs of the seven liberal arfs; on the
entrance-wall, Archangel Miehael, Hercules; on the side-wall3, Seven
reliefa from the Passion. — In a locked room on the E. side of the cloisters
Garibaldi's travelling-carriage (1866).
A staircase leads from the S.E. angle of the cloisters (opposite the
entrance) lo the Museum. In the Salone degli Arazzi are tapestriea from
Florence and Flanders (16-17th cent.) and choir-books of the Pisan, Sienese,
and Florentine schcols (14-15th cent). — Room I (to the left): 2. Eollwith
miniatures upon parchment (llth cent.); 4. Ornamental portions of the
oíd Fascia or Cintola del Duomo, a long scarf of damask that on high
festivals was hung all round tbe cathedral; 8. Embroidered antependium,
from the cathedral (1325); 14. So-called Pluvial of Pope Gelasius II.,
but more probably a Pisan work of the 14th cent.; 15. Reliquary of ivory
(llth cent.). — In the following rooms are paintings of the 13-16th cent¬
uries. R. II. 17. Giunta da Pisa, Crucifixión (school-piece; 13th cent.). —
R. III. 16-23. Simone Martini, Parts of the high-altar of Santa Caterina
(1320); 39. Bruno di Giovanni (14th cent.), St. Úrsula as protector of Pisa. —
R. IV. 19. Franc. Traini, The Saviour with St. Dominic, from S. Caterina
(1344). — R. V. 6. Barnaba da Modena (14th cent.), Madonna in glory, wilh
angels; 22. Taddeo di Bartolo, St. Dominic (on the back, Crucifixión); !26.
Gentile da Fabriano, Madonna. — R. VI. 10. Florentine School (?), Triuniph
of Emp. Vespasian (on the lid of a chest); 21. Dom. Ghirlandaio, SS. Sebas¬
tian and Rochus; Benozzo Gozzoli, 23. Madonna enthroned, with four saints,
24. St. Anne, Madonna, and Child (studio-pieces); 27. Masaccio, Half-figure
of St. Paul, fragment of an altar-piece from Santa Maria del Carmine in
Florence (1426). — Córner Room: Bruges School, St. Catharine (ca. 1480). —
R. VII. 6. Raffaellino del Garbo, Madonna enthroned, with four saints;
Sodoma, 'Madonna and sainta (1542). — R. VIII. ''Guido Reni, Earthly and
heavenly love. — R. IX. 8. Rigaud, Portrait. In a aide-room to the left,
Pisan coins and seáis. — R. X. Fragmenta of sculpture from San Giovanni
(14ih cent.), the facade of the cathedral (ll-12th cent.), and Santa Maria
della Spina (14th cent.). In a side-room to the right, Relien and represent-
ations of the 'Giuoco del Ponte' (bridge-game), an ancient Pisan game, last
played in 1807 al the Ponte di Meizo. — R. XI (I.). Florentine tapestry
(16-17th cent.); two female costuinea of Florence (léthcent.); no number,
Germán School (18th cent.), Portrait of Counteas Adelaide Canossa. — R. XII
(entered through R. X.). Pisan and other sculptures (12-16th cent.), including
interesting wooden statues of the Annunciation, by Niño Pisano, and a
Madonna in marble of the Pisan School (ca. 1390). — R. XIII. Sketches for
paintings in the cathedral (17-19th cent.).
In and near the Lungarno are several other interesting build¬
ings, with which we may termínate our walk.
San Niccola (Pl. C, 4), founded about the year 1000 by Count
Hugo of Tuscia as a Benedictine abbey, has an obliquely placed
Campanile, which contains an admirable winding staircase ascribed
to Niccolb Pisano. — The Piazza in front of the church is adorned
with a Statue of Ferdinand I, by a pupil of Giov. da Bologna (1595).
In the Lungarno Regio (p. 428) are the Palazzo Lanfreducci
(Pl. 6; C, D, 4), now Upezzinghi, a baroque building ascribed to
Cosimo Pagliani, and (No. 5) the *Palazzo Agostini (Pl. D, 4), a
flne Gothic brick edifice of the 14th century.
A few paces to the N. of the Piazza Garibaldi (Pl. D, E,- 4), in
the busy Via del Borgo, rises —
San Michele in Borgo (Pl. E, 4), a flat-roofed basilica, probi
ably of the llth cent, but much modernized. The facade, which-s
said to have been designed by Niccolb Pisano (but more probably by
hia nnuil Fra Gualielmo). was Dartlv rebuilt in the Gothic stvle.