Saint Maria’s Gate (Porta Santa Maria) is one of the grand entrances to the historic city of Lucca. Situated on the northern side of the city's impressive Renaissance walls, the gate was constructed between 1549 and 1592 as part of Lucca’s defensive fortifications. Designed by architect Ginese Bresciani and built under the direction of Michelangelo Gabrielli, this gateway exemplifies the grandeur of Renaissance architecture while serving as a vital passage into the city.

Originally, the gate featured a single entrance, but later modifications introduced two additional openings to accommodate increased traffic. One of the most striking features of Saint Maria’s Gate is the marble statue of the Virgin Mary, positioned in a niche above the entrance as a dedication to the city's religious heritage. Flanking the gate are statues of panthers, symbolic of Lucca’s identity and resilience. The central arch features frescoes of the Annunciation, with the Archangel Gabriel and the Madonna. Below Saint Peter’s bas-relief, the inscription "Libertas" highlights Lucca’s historic independence.

Beyond its architectural significance, Saint Maria’s Gate has played a role in Lucca’s transportation history. From 1883 to 1932, the gate served as a terminus for the Lucca-Ponte a Moriano tramway, which was later extended to Saint Peter's Gate (Porta San Pietro). The tramway has since been decommissioned, and today, the central passage of the gate is pedestrianized, while the side openings allow for vehicle transit.

Walking through Saint Maria’s Gate leads visitors into the heart of Lucca’s medieval streets, where they can explore a labyrinth of historic alleys, Renaissance rooftops, ancient churches, aqueducts, fountains, and charming hidden gardens. The area around the gate is lined with traditional trattorias, artisan shops, and historic cafés, offering a perfect blend of past and present.

The elliptical square used to be a Roman amphitheater. Built in the 1st century AD in the reign of the Emperor Claudius, it was originally outside the city walls. It was rather large, having fifty-four arches and a seating capacity of ten thousand. Public meetings as well as games and dramas were held in the arena.

In the 6th century AD, during the Gothic wars, the amphitheater became a defensive liability because of its size and position outside the city walls. The amphitheater was fortified by closing the outer arches. In time, other buildings used as houses, storage spaces or prisons were added to the structures around the arena.

During the middle ages the upper parts of the original amphitheater began to disappear. The materials taken were used in the constructions. The arena remained along with a ruined arch or two. Buildings enclosed the space, creating a de facto square. Most of these buildings were military storehouses or used to stock salt or such.

In the early 19th century, architect Lornzo Nottolini, was deeply involved in what was called the Great Project of Tuscany, including the urban renewal of Lucca. Nottolini was commissioned to restore and revive the Piazza based on the Roman ruins of the amphitheater.

Nottolini designed a new open square just as big as the original structure. It followed the elliptical shape of the arena exactly. It became an urban market center and space for open shops. In the early 20th century the official market was shifted to another area but the square continued to be called Market Square (Piazza del Maercato).

The square can be entered only through one of its four doorways. The lowest one of these is part of the original structure of the amphitheater. To enter the market square is to follow in the steps of the Lucchese from ancient times until now.

The Guinigi Tower is easy to spot. It is a square tower of bright red brick. It rises to a height of 125 feet and there are Holm oak trees growing on the roof. There is a need to climb the tower, sit in the shade of aged oaks and look out over the ancient city of Lucca. Alert: this urge is irresistible.

The Guinigi Tower was built in 1384. The Guinigis were rich from the silk trade that passed through Lucca at the time. Once Lucca had as many as 250 such towers. Only nine remained after the warlord Castruccio Castracani ordered them demolished. This was in the 14th century, the interesting time of plagues, raids, violence. It was a time for towers.

The towers were not only havens and defensive assets, they were symbols of wealth and power and respect. Every player had to have one. At least one. When Castracani died, the Guinigi took over the city. They would keep their Tower of Power forever.

In 1805 Napoleon ruled in Tuscany. He gave the region to his sister, Elisa, making her the Grand Duchess of Tuscany. It is because of her the walls of the Tower were maintained. It is possible to visit the tower. It is 230 steps up to the observation deck. The original stairs were on the outside. Now they are inside. It's a small mercy.

Of course there are legends about the tower. If one climbs to the top in the evening, one may see a ghostly lady sitting under an oak tree with her pet dog. This is the lady Ilaria, the deceased wife of Paolo Guinigi. If she smiles at you, your heart is pure. If not, well...

The tower is open to the public for a modest fee. Reach the top and the amazing panorama of Lucca will unravel at your feet.

Nestled in the heart of Lucca, San Martino Square (Piazza San Martino) is one of the city's most historic and vibrant squares. Dominated by the magnificent Saint Martin Cathedral, the square serves as a focal point for locals and tourists alike, hosting cultural events such as the renowned antiques market held on the third Saturday and Sunday of every month.

The Cathedral of San Martino, from which the square takes its name, boasts a striking asymmetrical Romanesque façade that commands attention. Built in 1204 by Guidetto da Como, the façade showcases three large arches, a signature of the Lucchese Romanesque style. The cathedral, founded by Saint Fridianus in the 6th century, was rebuilt in 1060 by Anselmo da Baggio (later Pope Alexander II) and modified in the 12th and 13th centuries.

Across from the cathedral stands the Bernardi Palace, a mid-16th-century architectural gem designed by Bartolomeo Ammannati. The square is further adorned by a fountain designed by Lorenzo Nottolini, adding to its charm and liveliness.

The square has long been a meeting point for both locals and visitors, with its layout divided into three distinct areas-one in front of the Cathedral’s yard, another leading to Via Valdonica, and a third opening toward Via Marsala. In the churchyard, one can admire the statue of Madonna del Carmine, sculpted by Andrea Ferreri in 1705 and set upon an elegant stone column.

With its blend of medieval, Romanesque, and Gothic influences, San Martino Square remains a testament to Lucca’s architectural grandeur and cultural richness. Whether visiting for its artistic treasures, historical resonance, or vibrant events, the square is an essential stop in discovering the timeless charm of this Tuscan city.

The Lucca Cathedral Bell Tower (Campanile of the Duomo di San Martino) is one of the most prominent historical landmarks in the city of Lucca. Situated near Lucca’s Railway Station, the tower is an integral part of the Cathedral of Saint Martin, a revered Roman Catholic church dedicated to Saint Martin of Tours. The cathedral, originally founded by San Frediano in the sixth century, underwent significant reconstruction in 1060 under Bishop Anselmo da Baggio-who later became Pope Alexander II-and was further modified during the 12th and 13th centuries.

The bell tower, built in the 14th century, rises majestically above the city, showcasing a blend of Romanesque and Gothic architectural styles. Its elegant structure, adorned with intricate details, is a testament to the craftsmanship of the medieval era. Despite multiple renovations over the centuries, the tower has retained its historical character, making it an enduring symbol of Lucca’s architectural heritage.

Climbing the tower offers a unique experience, rewarding visitors with panoramic views of Lucca and the surrounding Tuscan countryside. From the top, one can admire the medieval walls encircling the city, the terracotta rooftops, and the lively Piazza San Martino below. The best time to visit is at sunset when the golden hues of the sky cast a warm glow over the ancient cityscape.

Visitors to the Lucca Cathedral Bell Tower are encouraged to explore the nearby attractions, including the Cathedral of Saint Martin itself, known for its remarkable portico with sculptural decorations by Guido Bigarelli of Como, and the charming streets lined with quaint shops and traditional Tuscan cafes. Whether you are an architecture enthusiast or a traveler seeking an authentic historical experience, the Lucca Cathedral Bell Tower remains an unforgettable highlight of visiting this enchanting city.

It is said the Cathedral of Saint Martin was founded by San Frediano in the 6th century and rebuilt by Bishop Anselmo da Baggio in 1060. It came into its current form in the 12th and 13th centuries. Anselmo later became Pope Alexander II. In 1372, the apse of the church and the wall of the transept were completed. The style was Gothic.

The facade of the church is in three great arches surmounted by three rows of galleries filled with sculptures. To the right of the facade is the bell tower. It has a four-sided base and five rows of windows divided by pilasters. The crown is made of Ghibeline merlons.

The interior is laid out in a Latin cross with three naves. The two side naves are topped by false galleries. The central nave is contained in a semicircular apse with three large Romanesque windows.

The left aisle has a small chapel holding the sacred relic, the Holy Face of Lucca. The relic is a wooden crucifix with the image of Christ, supposedly carved by Christ's contemporary Nicodemus. It is said to have suddenly appeared in Lucca in 742 AD. The chapel itself was built by Matteo Civitali in 1484. Civitali was a sculptor of Renaissance Lucca.

Off the sacristy is the funeral monument of Ilaria del Carretto, made by the sculptor Jacabo della Quercia. Ilaria was the wife of Paolo Guinigi, Lord of Lucca until 1430. The Lady Ilaria died very young. Her image depicts her lying on the sarcophagus as if asleep, her faithful dog at her feet. Her ghost is said to haunt the Guinigi tower at night.

The Cathedral is also famous for its long association with members of the Puccini family who moved to Lucca from the mountain village of Celle in 1719. Giacomo Puccini’s personal involvement with the Duomo began when he was sent here to attend a seminary school.

The Cathedral, at one time, was a home of two magnificent organs: one from the 15th century and the other from the 17th. Little remains of these instruments today but the gallery and frontal pipes are still visible. From the early 1870s, Puccini took part in the Festival of Santa Croce at the Cathedral, first as a boy singer, then as a member of the choir, and later as a deputy organist.

Back in the Middle Ages, the towers of Lucca had been growing like mushrooms, with some collapses being rather commonplace. The towers were built higher and higher in the belief of their owners that the height equaled respect. In the 14th century, Castruccio Castracani, the Duke of Lucca, ordered a good number of them to be demolished.

Among the tallest towers still in place is the Clock Tower. Built in the 13th century, it stands 164 feet high on the corner of Via Fillungo and Via Dell'Arancio. Several families of the local nobility had owned the tower over the centuries, but it is better known for a dark legend involving a woman and the devil.

Lucida Mansi, a cruel beauty notorious for having killed her husband and many lovers after that, wanted to stay young forever. Mad at the sight of wrinkles on her face, she made a deal with the devil that would keep her young for the next thirty years, upon which he would claim her soul at the midnight of the 14th of August 1623.

Indeed, for the next three decades Lucida had enjoyed a fabulous life filled with extravagance, luxury, and numerous romances. People marveled at her youth whilst others grew old.

As the day of 14th of August 1623 drew nearer, Lucida grew more and more desperate. In a bid to stop the clock from chiming midnight, she climbed to the top of the tower but still failed to halt the bell strike, and so the devil took her soul.

There are 207 wooden steps within the tower leading to the clock mechanism. Entrance costs only a few euros, so it would be a shame not to see it.

The full name of the Church is San Michele in Foro. It was built in the Forum, the center of public life in the Commune of the City. The Church dates from 795 AD. Pope Alexander II ordered the Church rebuilt in 1070. The massive Pisan-Baroque facade resembles nothing less than a gigantic wedding cake.

There are four levels of arcades. The upper two tiers are free-standing loggias. The lower section is faced with white marble blind arcades. The center part of the upper facade has an iron-winged statue of Saint Michael spearing the dragon. If one looks closely one may see the emerald on Michael's finger ring.

On the lower right corner of the facade is a statue of Madonna Salute Portus, Made by Matteo Civitali to mark the end of the plague of 1476.

The interior has two aisles and a nave and a transept design with a semicircular apse. The nave is supported by arcades with massive columns. There is a terra-cotta image of the Madonna and child by Andrea della Robbia. A painted mural by Filippo Lippi celebrates saints Helen, Rocco, Gerome, and Sebastian.

The bell tower was built in the 13th century. It rises over the southern transept of the building. The upper level of the tower was cut off in 1366 by the Doge of Pisa, Giovanni dell'Angello, because the bells were too loud.

The basilica is only a short walk from the Lucca train station. The nearest bus station is San Salvatore on the LAM Verde route.

Nestled in the pedestrian heart of Lucca, Citadel Square (Piazza Cittadella) is an essential stop for visitors exploring this historic Tuscan city. The square is renowned for being the birthplace of the celebrated composer Giacomo Puccini, whose legacy remains deeply intertwined with the cultural identity of Lucca. His childhood home, now the Puccini Museum Casa Natale, stands as a tribute to his extraordinary musical achievements and offers a glimpse into his early life.

At the center of the square sits the bronze statue of Puccini, depicted in a relaxed pose on a chair, cigarette in hand. This striking monument is a final homage to the maestro, respected by both Italians and tourists who pause here during their travels to honor his contributions to music. The statue naturally draws the attention of passersby, serving as a focal point of the square’s vibrant atmosphere.

Historically, the square was originally known as Piazza di Poggio, named after the influential Poggio family, one of the most powerful clans in medieval Lucca. However, following their failed attempt to seize control of the city in 1522-an event known as the Conspiracy of the Poggi-the family was exiled, and the square was renamed Piazza del Grano. Later, it took on the name Piazza Cittadella, inspired by a significant Baroque-era building once renowned for its hanging garden, visible from the square.

Citadel Square captures Lucca’s Roman heritage and lively charm. A favorite gathering spot, it’s lined with cafés, pubs, and restaurants. Notable stops include Osteria Tosco, known for its garden setting and local delicacies, and Mercatino di Walter e Lucia, offering gourmet products like olive oils and regional wines. Whether one is drawn by the music, the history, or simply the inviting atmosphere, Citadel Square stands as a living tribute to Puccini and the timeless spirit of Lucca.

The Puccini Birth Home, located in Corte San Lorenzo, Lucca, is a museum dedicated to the life and works of Giacomo Puccini, one of the most celebrated opera composers in history. This historic house, where Puccini was born on December 22, 1858, and spent his formative years, remains a central piece of the Puccini Museum, preserving the composer’s legacy through an extensive collection of memorabilia, documents, and personal items.

The Puccini family settled in Lucca in the early 18th century, and after the untimely death of Domenico Puccini, Giacomo’s grandfather, in 1815, they relocated to Corte San Lorenzo. His widowed grandmother, Angela Cerù, moved the family there, likely to be closer to her brother Arcangelo Cerù, who provided both moral and financial support to the Puccinis. The house was originally home to multiple generations, including Antonio Puccini, his wife Caterina Tesei, Angela Cerù, and her children, including Michele Puccini, Giacomo’s father.

The museum collection, first established in 1979, has been continuously enriched by private donations and acquisitions. The house was converted into a museum in 1925 by Puccini’s son Antonio, and despite modern enhancements, it retains its original historical appearance. The museum’s restoration efforts have ensured that visitors can experience the home as it was during Puccini’s lifetime, preserving its original furnishings and atmosphere.

Among the notable exhibits inside the museum are Puccini’s Forster and Steinway & Sons pianos, the latter used for composing Turandot. It also features signed scores, manuscripts, rare librettos, and letters with publisher Giulio Ricordi. Highlights include Macchiaioli paintings, hunting trophies, and handwritten drafts of Tosca, La Fanciulla del West, and La Rondine. A standout is a Turandot costume by Umberto Brunelleschi, worn by Maria Jeritza at its 1926 Metropolitan Opera premiere.

The museum includes rooms showcasing Puccini’s personal life, such as the kitchen, veranda, and omnibus room, which holds his funeral mask and portraits. His hunting room displays rifles, boots, and gear. In 1926, his remains were moved to a chapel in the house, where he rests with his family amid musical-themed decor.

Today, the Puccini Birth Home stands as an immersive tribute to the composer’s genius and artistic journey. Located in the heart of Lucca’s historic center, the museum continues to be a cultural landmark, celebrating the enduring legacy of one of opera’s greatest composers.

A tourist's dream is to stay in the Principe Federico Suite of the Palazzo Pfanner in Lucca. Prince Frederick of Denmark had trysts with noblewoman Maria Maddalena Trenta in the suite in 1692. The suite offers a princely view of the walls of Lucca and the alluring palace gardens below.

The Moriconi family, silk merchants of Lucca, sold the building to the Controni family in 1680. The Contronis engaged architect Domenico Martinelli to build their monumental grand staircase and galleries. Filippo Juvarra, set designer and landscaper, did the garden.

Felix Pfanner, a brewer from Austria, acquired the property in 1846 and established the first brewery of Lucca. The brewery, situated in the garden, was a pleasant place for brewing and tasting. The brewery closed in 1929.

The grand staircase to the main hall of the palace is sandstone. It has vaults adorned with 18th century frescoes by Bartolomeo de Santi and Lorenzo Castellotti. The walls of the main hall are painted with frescoes painted by Pietro Paolo Scorsini in 1720.

The prime attraction is the garden. It reaches from the monumental staircase to the graceful Lemon House. It encloses two bamboo groves and a green area holding palms and indigenous pines, yews, magnolias, peonies, hydrangeas, begonias, roses and germaniums.

There is a large octagonal basin at the center of a formal garden and marble statues of the ancient gods of Olympus, watching over this little slice of paradise.

In the 6th century AD, a church was built in Lucca dedicated to the Levites Vincenzo, Stefano and Lorenzo. Fredianus, an Irish pilgrim who became bishop of Lucca in 560 AD, gets credit for the construction. The Basilica today is built in the Romanesque style and it is located in the Piazza San Frediano.

In 1112 the church was rebuilt. It was reconsecrated in 1147 by Pope Eugene III. The church had three naves and an apse. The facade faced east. This was departure from the Dominican custom of facades facing west.

Sometime in the 13th century the central nave was raised and a wooden ceiling installed. In the same period the upper facade received a mosaic of the Ascension of Christ with angels and apostles around the Madonna. The Madonna image was later replaced by the center window.

In the 14th and 16th centuries chapels were built in the side aisles and the facade was extended. The three portals of the facade are marked by pillars under an architrave and blind arches. There is a loggia at the middle level with columns and two single lancet windows. The bell tower, near the apse, dates back to the 13th century.

Inside the church the aisles and nave are set off by columns with round arches. The center nave is high with a wooden truss ceiling.

The basilica is a short walk from the Ampitheater Square.