The South of France—East Half

by C. B. Black

PISA
FLORENCE 15 47 [LUCCA] (pop. 22,000). Each portmanteau taken from the station to the cab, 6 sous; bag, 2 sous. Cabs await passengers, 1 fr.; portmanteau, 4 sous.

Sights.—A walk on the ramparts, 3 miles in circumference, and a visit to the Duomo and to the Picture-Gallery. To the south of Lucca, near the station, is an ancient aqueduct of 459 arches.

[Hotels:] Universo, between the Duomo and the Piazza Napoleone, a first class-hotel; Croce di Malta, near the Piazza Napoleone; and the Corona, near the Piazza also, but towards the church of St. Michele. Diligence to the Baths of Lucca start from a court opposite the H. Corona. Distance, 17 miles. Fare, 3 fr. Carriage, 15 fr. Money-changer in the Piazza dell’Erba, off the P. Napoleone. Lucca is one of the most ancient cities in Italy. Originally it belonged to

the Etrurians, but was taken from them by the Ligurians, and colonised by the Romans about 170 years before the birth of our Lord. The most remarkable event that distinguished it in ancient times was the interview which took place here between Cæsar, Pompey, and Crassus, and which attracted to the town half the senate and nobility of Rome. After the fall of the Roman empire, Lucca was governed by princes of its own, from one of whose race, Azon II., of the house of Este, the royal families of Brunswick and England are descended. The town is in the form of the letter O, surrounded by ramparts which afford a most agreeable drive. At the railway end is the Piazza Napoleone, and near it all the principal sights. [ Lucca: Palazzo Ducale.
Picture-Gallery. Cathedral.] One entire side of the Piazza is occupied by the Palazzo Ducale, now the Palazzo Provinciale, a vast and substantial edifice, built in 1578, enclosing two large courts, and containing the prefecture, the post-office, the picture-gallery, and the government offices. The [Picture-Gallery], open every day (except Mondays), between 10 and 2, although small, contains some precious works, in handsome halls. In the first room is a Madonna della Misericordia, and in the second, the Creator with Mary Magdalene and St. Catherine, both by Fra. Bartolommeo, in 1515 and 1509. Also pictures by Reni, Zucchero, and Tiziano. In the Sala da Ballo, painted in fresco by Luigi Adamolli Milanese in 1819, are a Madonna by Perugini; a full length portrait of Napoleon’s sister Elisa; and two ancient pictures on wood—a Nativity, and a Christ with Saints. The remainder of the pictures are in the rooms which were occupied by Maria Aloysia Borbonia (Marie Louise), whose monument by Bartolini (1843) stands in the centre of the square. Leaving the Piazza Napoleone, by the street at the end of the small avenue, we come to another open space containing San Giovanni and the Duomo, and between the two churches a house called the “Administrazione del opera della chiesa;” where, among other things, are preserved La Croce dei Pisani, an elaborately wrought gilt silver cross, by B. Baroni in 1350, and the gold lamp, weighing 24 lbs., which formerly hung in front of the Tempietto in the Duomo. They are shown at any time, but a fr. is expected. The Cathedral or Duomo of [St. Martino] was commenced by Anselmo Badagio, who, three years afterwards, as Pope Alexander II., blessed the enterprise of the Norman invader of England. The façade, with its three tiers of columned galleries, was built in 1204, the choir in 1308, and the triforium in 1400. The sculptures of the portico are subjects from the life of St. Martin. Over the door on the left is a Descent from the Cross, by Nicolo di Pisa, 1233.

Loftiness and simplicity, verging on plainness, characterise the interior of this church, as well as those of all the others in Lucca, with the exception of San Romano, which is profusely decorated. The windows are small and filled with modern glass, excepting the three at the eastern end, which are by P. Ugolino. All the pictures are covered, excepting on Sundays and feast-days, but the custodian can always be found in the sacristy, who shows the church for a franc. Commencing at the first altar, right hand from main entrance, Nativity, by Passignano; second, Adoration of the Magi, P. Zucchero; third, Last Supper, Tintoretto; fourth, Crucifixion, Passignano; fifth, Resurrection. In south transept, west side, is the monument to Pietro da Noceto, one of the many admirable works by Matteo Civitali, to whose genius the church owes its best sculpture, which he contributed during a period of nearly thirty years from 1472. The angels on the altar in the Chapel del Sagramento, opposite the monument, as well as the whole of the chaste white marble altar in the Chapel of St. Regulus, adjoining the sacramental chapel, are by him. On the left side of the high altar is the altar to “Christo Liberatori,” by G. Bologna, and adjoining, La Cappella del Santuario, where again we find the beautiful handiwork of Civitali displayed on the altar and reliquaries on both sides. The Madonna which forms the reredos of the altar is by Fra Bartolommeo. This picture and the Madonna by Ghirlandaio (1400), in the sacristy, are the two gems in the church. Just outside the Cappella del Santuario is a recumbent figure of Ilaria del Carretto by Jacopo della Quercia (1444), unfortunately slightly mutilated, yet a beautiful imitation of the repose of nature transferred to statuary. Lucca: The Tempietto.
S. Giovanni.
S. Frediano. In the north aisle is the [Tempietto], a small octagonal chapel standing apart, in which is preserved the cedar wood crucifix, 8th or 9th cent., said to have been carved by Nicodemus with the assistance of an angel. The fresco on the left side of the main entrance into the Duomo represents him cutting it out. This cross is exhibited three times a year. The embroidery on the red curtain is an exact copy. The figure of S. Sebastian on the Tempietto, as well as the elegant pulpit opposite, are by Civitali. Opposite the cathedral is [San Giovanni], founded in the 12th cent. The baldness of its great walls is partly relieved by the coloured panelled ceiling. Leaving the Piazza Napoleone by the western corner of the Palazzo Provinziale, we soon reach the Piazza and Church of San Michele, founded in the 8th cent., with a lofty façade composed of tiers of variously shaped columns. Continuing in the same direction towards the ramparts, we reach [S. Frediano], of the

7th cent., with a large Mosaic (12th cent.) over the main entrance. Just within it, on each side, are frescoes by Ghirlandaio. To the right is an ancient circular font about 9 feet in diameter, beautifully carved in relief by Magister Robertus in 1151. The font at present used is against the wall, and is by N. Civitali, the nephew of Matteo. The second chapel on the right contains the tomb of St. Zeta, the patroness of Lucca, in a sarcophagus on the altar. Third chapel beyond this (east side) is a coronation of the Virgin by Francia, and on the opposite wall of the same chapel a curious old carving in relief, representing the assumption of the Virgin. On the opposite side of the church is a chapel covered with ancient frescoes by Aspertino, one of which represents the transporting to the church of the cross made by Nicodemus after it had been found in the sea. By the side of it is St. Augustine being baptised by St. Ambrosius at Milan; and above them, in the semicircle, an entombment. Opposite is S. Frediano (who was an Irishman) staying by prayer an encroachment of the sea, and an Adoration of the Magi. Above is St. Ambrosius instructing his disciples. On the ceiling, God surrounded by Angels, Saints, and Prophets. 3½ m. from Lucca is the Villa di Marlia, in the midst of beautiful grounds.

The Baths of Lucca.

[ The Baths of Lucca.]

17 miles from Lucca. See [Map, page 199].

The road ascends by the left bank of the river Serchio, through pleasing scenery, passing the town of Muriano, situated on the right side of the river. About 13 miles from Lucca is the curious bridge of the Maddalena, consisting of four arches, the arch next the village of Borgo being disproportionately large, and with a gradient from the bank to the centre of 60°. It is only 4 feet wide, and, although built in 1322, is the only bridge across the Serchio that withstood uninjured the great flood of 1836, when the Serchio attained in three hours a height till then unknown, and swept away with irresistible fury all the other bridges, and broke up the mounds, dikes, and embankments. The two villages (pop. 9500) which go under the name of the Baths of Lucca are Il Serraglio on the left bank, and Corsena on the right bank of the Lima, near its junction with the Serchio. On the hill behind Corsena are the springs and bathing establishments. By the side of the Lima is the Bagno Cardinali, close to the Casino; and about 100 feet above the Cardinali is the Bagno Bernabó. A short way westward, overlooking the valley of the Lima, is the Bagno Doccebasse, and immediately below it the Bagno dello Spedale-Demidoff, for the exclusive use of the poor. On the top of the hill, among some houses, is the Bagno Caldo, and a little to the east, standing by itself, the Bagno San Giovanni. Hotels: the best are Pagnini’s Hotel and Pension, next the Casino; and the America, nearer the bridge. On the opposite side of the river, in Il Serraglio,