to Florence. LUCCA. 63. Route. 445
A little to the N.W. stands the small church of San Giusto
(Pl. C, D, 3), with a flne portal of the 12th century. Near this
spot stood the palace of the Lombard dukes. — The Romanesque
church of San Cristoforo (Pl. 7; D, 3), in the Via Fillungo, dates
from the ll-12th centuries. Pretty facade.
On the W. side of the Piazza Napoleone (p. 443) is situated the
Palazzo Provinciale (Pl. C, 3), formerly Pal. Ducale, begun in
1578 by Bart. Ammanati on the site of a palace (burned in 1576)
of Castruccio and the Guinigi, continued in 1728 by Franc. Pini
and FU. Juvara with important deviations from the original plan,
and still unfinished. In the imposing inner court stands a monu¬
ment to the jurist Franc. Carrara (1805-88), whowas born atLucca.
In the archway leading to the second court is (left) the entrance
to the Picttjee Gallery (Pinacoteca), important on account of two
paintings (from San Romano) by Fra Bartolomeo (open daily, 10-2,
Y2 fr-; closed on Mon., Easter Sun., and Sun. in Christmas week).
From the Vestibule, which contains mediseval sculptures, we ascend
the staircase to the first floor.
I. Room. Entrance-wall: s'*12. Fra Bartolomeo, God the Father v.ith
Mary Magdalen and St. Catharine of Siena, 1509; injured by resforation.
— 'In this most admirable production for feeling as well as form, a special
atíractiveness is created by colouring redolent of Venetian richness and
brilliancy, and by atmosphere successfully attained in gradations of land-
scape-tints, and by chiaroscuro after the method of Da Vinci in the Mona
Lisa, or of Raphael in the portrait of Leo the Tenth' (C. Je C). — Oppo¬
site, :5. Fra Bartolomeo, Madonna della Misericordia, with portraits of
the Moncalieri family, of 1515; also injured by restoration. — 'The classic
movement of the principal figure, the varied but always elegant attitudes
and action of the remainder are almost matchless instances of the mode
in which scientific calculation gives nature as a result. In most of the
minutise unusua] power of observation ia revealed. Nothing can be more
pleasing than the manner of dividing the fingers with their play suggesting
unconsciousness. Admirable are the draperies in which the folds are con-
centrated on the bends' (C. & C). — In this room also are: 1. Pompeo
Batoni, Martyrdom of St. Bartholomew; 11. Domenichino, Samson.
II. Room. On the right, 3. And. del Sarto, Holy Family (replica of that
in the Palazzo Pitti); 5. Pontormo, Giuliano de' Medici; 15. Tintoretto,
St. Mark releasing a slave (small replica of that in the Academy at Venice,
p. 309); 20. Guido Reni, Crucifixión, with SS. Julius and Catharine; A.
Bronzino, 23. Don Garzia de' Medici, 25. Ferdinando de' Medici. — 37. Amico
Asperlini, Madonna in glory, with four saints; 39. Sustermans, Vittoria
della Rovere, with her son Cosimo III. de' Medici. — 42. Lod. Brea, Ma¬
donna with saints; 60- Beecafumi, Moderation of Scipio. — A case in the
centre contaiDS coins and medals; another at the end-wall contains medieeval
articles in gold and bronze. — We pass through R. I. again to reach the —
III. Room. 3. Rembrandl (?), Portrait (retouched throughoul); 8. Suster¬
mans, Female portrait. — IV. Rooji. Nothing of importance.
From R. I. we enter the V. Room. 20. Choir-stalls from the cath¬
edral, by Leonardo Marti (1452-57); 35. Gothic choir-stalls and lectern from
the former church of Sant'Agostino (15th cent.); 21. Panel with intars'a
work by Cristoforo da Lendinara (1488); 31. Wooden altar v.ith marble
statues of the Madonna, St. Martin, and the Archangel Miehael (Pisan School;
14th cent.); 10. Matteo Civitali (?), Asaumpticn of the Virgin. — The ad¬
joining room contains modern paintinga of no imporíance.
Adjoining the second court of the Palazzo Provinciale on the W.
is situated the church of San Komano (Pl. C, 3), which dates from