to Florence. LUCCA. 63. Route. 443
imperfectly, but their columns, like those of íhe early-Christian basílicas
of Rome, are antique. The taste for building, probably stimulated by
rivalry with Pisa, waa again revived in the 12th cent., when the older
churchea were altered and reatored, doubtless in accordance with Pisan
modela. — Towards the end of the 15th cent. Matteo Civitali (1435-1501),
one of the most pleasing aculptora of the early Renaissance, resided,
and produced numeroua works, at Lucca. His style, influenced by Antonio
Rossellino and other Florentine masters, íhough full of life, is of a grace-
ful and gentle character, contrasting especially with Donatello.
Near the Railway Station (Pl.D, 4) are a number of new streets,
including the unfinished Via Cieconvallazione (Pl. E, F, 4, 3).
We enter the inner town through the Porta San Pietro (Pl. C, 4)
and proceed, trending to the left, to the —
Piazza Geande or Piazza Napoleone (Pl. C, 3), the chief square,
laid out under Elisa Baciocchi. In the centre is a monument to
the Duchess Marie Louise, by Lor. Bartolini (1843). — This piazza is
adjoined on the S.E. by the Piazza del Giglio (Pi.C, 3), a few yards
to the E. of which is the Piazza San Maetino, with the —
*Cathedral of San Martino (Pl. D, 3), founded in the 6th cent.
by St. Frigidianus (p. 447) but rebuilt in 1060-70 in the Roman¬
esque style by Bishop Anselmo Badagio (later Pope Alexander II.).
The choir-apse and the aisles date from the original building, though
the latter received Gothic windows and buttresses (chiefly on the N.
side) in the course of an extensive restoration in the 14th cent. (1308
and 1372), when the nave and transepts were rebuilt in the Gothic
style. The sumptuous facade (restored in 1903-4), added after
1204 by Guido da Como and his son Guidetto, is embellished with
a flne group of St. Martin and the beggar (13 th cent. ?). The laby-
rinth on the pier to the right symbolises the erring paths of human
life. The ornamentation inside the vestibule was begun in 1233 ;
the reliefs represent the history of St. Martin and the emblems of
the Months. Over the door are an Adoration of the Magi (much
mutilated) and a Descent from the Cross, two early works of Niccolb
Pisano (p. 428). The church is entered by three Renaissance doors
adorned with wood-carvings.
The 'Interior (most of the altar-pieces covered on week-days), which
has recently undergone a thorough restoration, ia in the form of a Latin
cross, with nave and aisles 92 yds. in lenglh, transept 48, and nave 30 yds.
in width. The nave (92 ft. high) has pillara and round arches, above which,
as in Northern Gothic churches, is a triforium (with large windows and
rich tracery) over the aisles and carried across the transept, which it
also intersects longitudinally. S'ained glass by Gius. Berlini (1856).
Right Aisle. _ At the 3rd altar, Last Supper, by Tintoretto. Pulpit by
Matteo Civitali, with rich ornamentation (1493). Above the adjoining en¬
trance to the sacristy is an organ-screen of 1432. — In the Sacristy, Dom.
Ghirlandaio, "Madonna with SS. Clement, Peter, Paul, and Sebastian;
above, a Pietá (an early work by Mvhael Angelo"!), below, a fine predella.
The Right Transept contains (r.) the beautiful marble Monument of
Pietro da Noceto, secretary of Pope Nicholas V., by Matteo Civitali (1472);
by the same master, farther on, ia the aimple tomb of Count Domenico
Bertini (1479); also in the following Cappella del Sacramento (enclosed
by a railing) two ^Angels in an atlitude of adoration (1477) and (adjoining'
the choir on the right) the Altar of St. Regdlds, with St. Sebastian and
John the Baptisí and beauíiful reliefa (1484).