S.MARTINO'S CHURCH (DOME)
Built
in the XIV sec. where a church rose already attested in the preceding
century, the Church of S.Martino was object in the XVII sec. of
an imposing renewal that brought to the 300 and 400 altars substitution.
Meaningful jobs of restructuring were had during the '800.
Mail above an ample staircase of marble, introduces a marmoreal
façade with four smooth pillars that delimit three spaces
finished aloft by sequences of order bows acute that are also
followed on the broadsides. To the center of the façade,
the great decorated rose window richly and, above the three doors,
lunette to all sixth with bas-reliefs raffiguranti the Crucifixion
(to the center), the Resurrezione (to the left) and the Pity (to
the right). A great coat of arms mediceo is set above the central
door, beside which it is a bas-relief raffigurante S.Giovanni
Battista. The characteristic bricks bell tower, that according
to the native project you/he/she had to be dresses again in marble,
it is tall around 36 ms. and it goes up again to the sec. XVI.
The
plant is to three aisles with transetto and apse. Numerous the
works of art preserved to the inside. Of the more ancient sculptural
and pictorial outfit they remain a Three hundred wooden Crucifix,
the statue in marble of the announced one (XIV sec.) and the painted
veneratissimo of the Madonna del Sole referable to a painter of
culture tardogotica (XV sec.), visible only on the occasion of
festivity in his/her honor. Among the valuable works in marble,
they are signalled: the pulpit, operated seventeenth-century ricomposizione
joining the pedestal (of Lawrence Stagi,1504) and the compartments
of the box with figures of the Evangelists in bas-relief (Bertocco
and Phillip Cassoni or Donato Benti, 1508) through a cup with
figures of months and signs zodiacali and with the addition of
a staircase (Andrew Baratta, 1696); the S.Giovanni; the walled
capitals in the pillars and the fonts of Stagio Stagi (XVI sec.);
the great candelabra (XVI sec.); the confessional ones and the
altars, testimony of the seventeenth-century renewal. Of the pictorial
works, besides the mural paintings of the times and the walls
of the central aisle of Luigi Ademollo (XIX sec.), the seventeenth-century
and eighteenth-century works are remembered: Ascension of Christ
(Jacopo Vignali), Saints Agnese and Nicola (shop of Matteo Rosselli),
Miracle of S.Martino (Bacchini), Saints Brigida and Biagio (Giovanni
Baptist Digerini), Meeting of Christ with the Veronica on the
street of the Calvary (Francis Boschi), Virgo of the Rosary (Matteo
Rosselli), Last supper (Francis Curradi), Nativity (Pier Dandini),
Circumcision (Jacopo Vignali), Saints Caterina and Lawrence (Jacopo
Chiavistelli), Immaculate conception (Bacchini), Saints Maria
Maddalena and Jacopo (Alexander Cominotti), Resurrezione (Matteo
Rosselli), Vote for the preservation from the plague and Outrage
to the Madonna of the Sun (round of G.B.Tempesti), Alms of S.Martino
and coat of arms mediceo (octagonal table suspended above the
aisle, of Jacopo Vignali). Finally the bronzy tiles of the Street
Crucises are signalled, the sculptor's work contemporary Marcello
Tommasi.
TORRE
DELLE ORE
Begun in 1530 and finished later three years, introduced
in origin a cuspide. It was consolidated in 1706 and it assumed
the actual aspect in 1860.
ROCCHETTA ARRIGHINA - PORTA A PISA
It was built by Castruccio Castracani in the sec. XIV
and from him child Arrigo entitled. In the sec. XV was reconstructed
by Francione and her Cecca together with it Brings to Pisa. This,
only survivor of the three ancient doors of the surrounded building
town, introduce the sinopia of a " Annunciazione " attributed
to Astolfo Petrazzi (sec. XVII). The original fresco, detached,
it is near the Town Building.
S. AGOSTINO'S CHURCH AND CONVENT
The
complex constituted from the church of S.Agostino and from the
adjoining ex-convent with the characteristic cloister constitutes,
together with the other monuments that are leaned out on the Plaza
of the Cathedral of Pietrasanta a pole of great historical-artistic
interest.
The church was built beginning from the sec. XIV from the monks
agostiniani, already present in romitori of the Versilia, that
subsequently (sec.XVI) they built the adjoining convent.
The bell tower is of 1780.
Elevated above a brief stairway of marble, the sober façade,
also it in marble, is characterized by three great arcs to blind
fund, surmounted by an order of elegant Gothic bows by the slender
colonnettes.
To unique aisle, with trusses ceiling, the church has a floor
prepared on three levels, to follow the slope of the hill to whose
feet rise the building, and studded of numerous sepulchral headstones
of ancient noble families of Pietrasanta and Lucca.
The nine altars, except the first one to the left they are all
adorned of paintings. Particularly remarkable the first altar
to the right risalente to the XV sec. and tells some Nativity
the subject of the picture stolen in 1921 attributed to Zacchìa
the Old one, painter lucchese of the XVI sec., which the lunetta
is due raffigurante the Deposition from the Cross it posts in
the superior part of the altar; the other altars introduce, in
hourly sense, these paintings: Immaculate Conception (sec. XVII,
Astolfo Petrazzi), Madonna of the Rosary (sec.XVII, Astolfo Petrazzi),
Crowning of the Virgo (1764, of JeanImbert), Annunciazione (sec.
XVII, attributed to Matteo Boselli), Gloria of angels that supports
an image of the Virgo (1791, unknown author), Madonna with Child;
S.Anna and other Saints (sec. XVII,Tommaso Tommasi), Crucifixion
(1650 ca., of Francis Curradi); another painting, sets in the
apse and raffigurante the Annunciazione,è it operates of
Jean Imbert (1763).
Besides
these paintings, they are present datable frescos to the XIV-XV
century and eighteenth-century mural decorums, that were covered
by scialbatura and have been brought to the light with the restaurations.
In the apse it is a valuable wooden choir, recently restored.
Beside the church, the cloister is surrounded by a peristilio
of columns of marble and once it was entirely decorated by lunette
raffiguranti episodes of the life of S. Agostino, illustrated
under by brief writings in Latin mails to the paintings, every
interposed by a small coat of arms. Of such frescos are visible
today the seven lunettes of a side and a lunetta on the adjoining
side, in which a window of the Sacristy is inserted.
The author is the painter senese Astolfo Petrazzi (sec. XVII).
Following the suppressions napoleoniche of the monastic orders,
the whole complex became town ownership. After the Restoration
as remembers a headstone it posts above the entry of the cloister,
the convent entertained the school held by the Scolopis and subsequently
it has continued to be used as scholastic building. The church,
after the leaving of the agostinianis, it continued to be offiziata
for a few edited by times the Brotherhood of the SS. Sacrament.
During this as century the church that the convent has suffered
a notable I degrade.
The work of restauration, initiated on to end some years 70, the
total recovery of the complex, that today is the center of the
Center Cultural Luigi Russo and it entertains the Library Comunale"Giosue
Carducci has allowed", The Museum of the Sketches.
Moroni's Palace:
Sets
on the principal plaza of the historical center, in the immediate
proximities of the Cathedral and the monumental complex of the
S. Agostino, the Building Moroni, with his characteristic double
external staircase and the austerity of the classical decorations
of the windows, of nineteenth-century invoice, it is historically
one of the more remarkable buildings of the city for the public
functions which it has always been destined.
The Building derives from the union of two preexisting buildings:
in the XVII sec. the Community of Pietrasanta decided to acquire
a house of his Fathers bordering Agostiniani with the residence
of the notary Morrone Morroni, left in inheritance to the same
community (of this legacy is testimony a headstone it posts
on a side of the building) and this with the purpose to give
a more suitable setup to the Chancellery comunitativa and to
the Pious Mountain and to furnish a more comfortable abode to
the Chancellor. Modifications were introduced then during the
800 and in the 900 first part.
The insides architecturally introduce interesting elements,
what the times to cruise of the plain earth, the floors that
adorn some rooms to the first floor, the great saloon that is
extended for the whole width of the building to the second floor
and that it receives light from a lantern it posts on the coverage.
Over that center of the Chancellery and, therefore, also of
the file in which the actions of all the working institutions
were preserved on the whole territory of the Headed one or Vicariato
of Pietrasanta, the building it became then center of the Town
hall and man he/she remained up to the last world conflict.
Subsequently used for the offices of varied corporate body and
associations, the building today e' center of the Town Historical
file and the Archaeological Museum Versiliese Bruno Antonucci.
PIAZZETTA DEL CENTAURO
Inaugurated
in 1995, the small plaza with you furnish of white marble it
entertains the monumental bronze The " Centaur ",
work of the Polish sculptor Igor Mitoraj, from him given to
the city.
ROCCA DI SALA AND GUINIGI'S PALACE
In dominant position on the hill behind the city center, the
Fortress was restructured by Castruccio Castracani in the sec.
XIV and enriched of a residential palazzetto by Paul Guinigi
(sec. XV). It entertained illustrious characters among which
emperors and pontiffs. In the sec. XVIII was unarmed and sold
for order of Leopoldo I Granduca in Tuscany.
PANICHI'S PALACE(o CARLI)
Built in the sec. XV from Thomas Panichi, subsequently
passed in ownership of the family Carli. It has subìto
in the time it lavishes architectural transformations.
MONUMENTO
A LEOPOLDO II
Devoted Leopoldo II of Lorena to the Granduca in Tuscany, the
monument it is work of the sculptor pietrasantese Vincent Santini
(sec. XIX).
PALAZZO PRETORIO
In the sec. XIV was acquired by the Community, after belongs
to Perotto of the you Bewitch. It has subìto different
interventions of restructuring (XV, XVIII and XIX sec.). It
was center from the XIV to the XIX century of the Vicar and
the Captain of Justice (coats of arms in marble on the façade
and in the entry of the Theater) and then of the Pretura. Today
it entertains town offices (public education, culture, social).
From the central front door it is accessed the Town Theater.
S.LEONE'S MONASTERY - "IL PUGILATORE"
Built in the sec. XVI in honor of Pope Leone X, the monastery
had a cloister and a church devoted to S.Chiara. It entertained
the Clarisses and as female conservatory was used and then as
school. The building, seriously damaged, it was dejected at
the end of the years 50 and of it the bell tower remains (only
sec. XVIII).
In the proximities, sculpture in marble The pugilatore of Francis
Messina, given to the city in 1997.
S.NICOLA DI SALA'S CHURCH
Remembered in documents of the sec. XIV, the small
church posts at the Street of the Theater was restored and modified
in the XVII sec. and in 1923.
CASA NATALE DI PADRE EUGENIO BARSANTI
In the central Street Mazzini is found the house (not visitable)
where in 1821 Father Eugene Barsanti was born, inventor together
with Felice Matteucci of the motor to burst.
CHIESA DI S.ANTONIO ABATE
Documented since the sec. XIV, the church was in origin
devoted to S.Biagio and center of the homonym brotherhood. S.Antonio
Abate was entitled to the beginning of the sec. XIX. Of ownership
of the Brotherhood of the Mercy, to the inside introduces Ancient
wooden statues raffiguranti S.Biagio and S.Antonio Abate and
frescos of the sculptor and contemporary painter Fernando Botero
(1993).
CHIESA E CONVENTO DI S.FRANCESCO
The
Church of S.Francesco and the attached convent were built in
the XVI sec. to work of the PP.Francescanis that were transferred
here by the romitorio of S.Maria of the Graces to the Stregaia.
During the XVII sec. the before loggiato were built the church,
the western wing of the convent, the chapel devoted to S.Antonio
by Padua (which is entered to the right by a door some loggiato)
and the soprastante conventual library. The aisle and the choir
were widened in the sec. XIX.
It has here center the Parish of the SS.Salvatore, originally
situated near the homonym church that rose in the area currently
occupied from the city hospital.
The church is introduced rich inside marbles, particularly in
the altars, in the walls of the presbytery and in the arcades.
Among the paintings, the Stations of the Street are signalled
Crucis set in the side chapels in marmoreal frames adorned of
make a will of it of angels, the great cloths of the Dispute
of the Doctors and the Hunting party of the profanatoris from
the temple and the circles with Saints francescani, all due
eighteenth-century works to his Father Alberico Carlini, francescano
student of Ottavio Dandini and Sebastiano Conca; besides, the
eighteenth-century cloth of Anton Domenico Gulls raffigurante
St. Luigi Re of France posts to the left in the first altar,
recently restored. In the Chapel of S.Antonio a shovel of Anthony
Fidani is found (XVII sec.). The mural paintings of the Miracles
of S.Antonio you post in the external loggiato I am work of
Luigi Ademollo (XIX sec.), to which are due also the lunettes
with episodes of the Life of S.Francesco that adorn the cloister.
I am, finally, to remember the organ, of seventeenth-century
invoice and then restored and strengthened in the XIX sec. from
the teacher pistoiese Agati and the sculptures in bronze that
adorn the ambone and the greatest altar, work of the contemporary
artists versiliesi Romano Cosci and Franco Miozzo.
The cloister of the convent, with columns of marble and times
to cruise in the ambulatories, introduces a well surmounted
from two columns and from a lintel in marble to the center of
the paved courtyard.
The bell tower in bricks has been built in the sec. XVII.
In the before lawn put e' the sculpture in bronze St. Francis
of the sculptor contemporary American Harry Marinsky, given
to the citta' in the year 2000.
"IL
GUERRIERO"
Monumental work in bronze of the Colombian sculptor Fernando
Botero, from him given to the city in 1992.
PALAZZO DELLA POSTA
Itwas built out for decree of the Granduca Ferdinando The Medical
de' in 1592 of the ancient Door to Mass, that was opened in
correspondence of the actual Street Mazzini. Provided of a stall
able winds horses, it had function of inn and hotel.
CASA NATALE DI GIOSUE CARDUCCI
Here it was born in 1835 the poet Giosue Carducci. The building,
national monument, was acquired by the Commune of Pietrasanta
in 1912 with a public signature. It preserves memoirs and heirlooms.
PIEVE DI S.GIOVANNI E S.FELICITA
Documented since the year 855, have subìto destructions,
restaurations and changes that it have transformed the primitive
structure of it. To the inside, sculptures and frescos. The
bell tower is of the sec. XVI. In the courtyard of the parsonage,
well in marble of the sec. XVI.
Pietrasanta,
ancient city of origin medioeval, is the historical chief town
of the Versilia and the capital of the artistic workmanship of
the Marble to consider.