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La via delle Pievi part of the via Francigena towards Lucca

Since Roman times, the area that is now the Province of Lucca has always been an important crossroads between northern and southern Italy. The Romans constructed a complete road infrastructure around the area of Lucca, connecting the capital with the principle Etruscan settlements and then progressively with those of Liguria and Padania.

After the fall of the Empire, towards end of the medieval period, the area underwent decline. Due mainly to the lack of continued maintenance of the drainage system, which had previously been a priority, there was renewed swamping of the inland and coastal plains. These areas consequently were depopulated leading to the decay of the whole Romanic road system.
Research suggests that many of these routes, even if they underwent significant structural degradation, remain to this day, after modification and adaption to modern needs, fundamental to the existing road system.
New settlements and ecclesiastical building such as Pievi and abbeys developed on the hilltops and valley sides of the area, necessitating the rerouting of significant sections of the road network for both light daily local traffic and the major European traffic that was the necessitated by pilgrimage. This meant that Lucca remained an important staging post on the Via Francigina.

There were many ecclesiastical settlements and hospitals that cared for the migrating pilgrims and often the responsibility to maintain the local stectch of road fell upon them; amongst these some of the oldest are the Pievi whose individual jurisdiction within the area depended on the presence of other religious bodies. They varied in size, the larger ones enjoying conspicuous incomes. They performed both a civil and religious function especially in the areas further from the city.

Following the Via delle Pievi gives us an opportunity to view the modern Lucchese cultural reality from an ancient perspective through its history, art, architecture and a rich religious historiography all of which abounds in every corner of the Lucchese countryside.

Following these ancient byways is all about rediscovering the rich history of this place, to get a taste of the real traditions of this historic and noble land, which are still deeply engrained in the present day.
This hilly countryside takes us back to the truly authentic traditions of the area: olives and oil - the vine and wine.

Chiesa di Monte San Quirico

This church stands in a commanding position looking out across the plains of Lucca with the river Serchio flowing directly below it. There is already mention of it in records from the VIII century and was then known by the name of S. Quirico in Ponticello. It was restructured with three naves and consecrated in 1061 by Bishop Anselmo di Baggio. Further modifications undertaken in the 1800s removed its medieval appearance. The great painted cross, commonly attributed to Taddeo Gaddi, bears testimony to the churches original splendour.

The Convent of the Cappuccini

This stands close to the church of Monte S. Quirico and is home to a magnificent collection of Lucchese fine art with many important works that ended up at the convent as a result of the closure of other local religious orders.

The church of The Saints Ippolito and Cassiano

This is located in Mutigliano on the original site of a medieval building that was considered inadequate and subsequently demolished. The new church was constructed between 1877 and 1884.

The Church of San Lorenzo alla Cappella

This Church stands on the road the leads up to what was the Convent of the Cappella and is now the La Cappella Bed & Breakfast.
The building still retains its original medieval profile despite many modifications and extensions the last of which was in 1899.
Again the church houses a number of outstanding works of art, all from the XVI century, which confirm that it has undergone internal reorganization. The oldest is a "robbiano" tabernacle for the sanctified oils, from the beginning of the century; there is the painting on wood by Zacchia depicting the La Madonna tra i santi Lorenzo e Giovanni Battista (the Madonna between the Saints Lorenzo and John the Baptist), completed in 1545 and in the same style as the Sacra Conversazione (The Sacred Conversazione) by the same artist for San Pietro a Marcigliano and strongly connected to the Bartolomeo school; another canvass La Madonna tra i santi Vincenzo Ferreri, Stefano, Gregorio Magno e Luigi di Francia (The Madonna amongst the Saints Vincenzo Ferreri, Stefano, Gregorio Magno and Luigi di Francia) is attributed to the prolific Lucchese artist Bartolomeo Neroni, also known by the name of "il Riccio".
There are no longer services held here, instead they are held at a new church recently constructed at the bottom of the hill where now most of the population lives.

Chiesa di Santa Maria di Montecatino

Si trova in cima al colle, dopo aver superato l'ex convento della Cappella, oggi b&b. La chiesa, di origini medievali, ma assi manomessa, nel Quattrocento aveva un porticato.
Spogliata di tutti i suoi arredi, per la posizione in cui sorge si pone come punto di riferimento, grazie anche al campanile che la rende facilmente individuabili sia dalla Val Freddana sia dalla Valle del Serchio.

Pieve di San Nicola di Torre

There is mention of this church in records dating from as early as 754 A.D. but it was not until the 10th century that it was promoted to the status of pieve.
Reconstruction and modification of the church has continued unrelentingly since the end of the 1600s when the presbyteries and the area around the font were modified and Pietro Scorsini completed his fresco Battesimo di Cristo. The most radical works were undertaken between 1840 and 1845. The church was extended to accommodate an increased population of the parish and completed with the addition of a triple arched portico in neo-classical style.

Continuing down the route of the old Via Francigena, west through Monsagrati and then following the road left that that takes one to Pieve a Elici the next important pieve is that of San Pantaleone which stands in a splendid position overlooking the coastal plains below. Standing on Monte Pitoro, on the road for Massarosa, this church is fronted by a large piazza from where one can enjoy the view of the surrounding hills, covered in olive groves, the slopes of which descend towards Massarosa and Versilia.
The lake of Masaciucoli can be seen to the south surrounded by what remains of the swamps and the more recent but now abandoned rice paddies; behind this and further south the plains of Pisa, with the city easily identifiable by its most distinguishing feature, the Leaning Tower. Looking west one sees the glasshouses of Viareggio and the full length of the Versilian coast. On clear days it is also possible to see the island of Elba and La Gorgona.
The Pievi of Camaiore and Valdicastello were founded in the IX century and represent the north-western boundary of the extensive diocese of Lucca. Originally these two Pievi shared the jurisdictional responsibility over numerous smaller dependent churches in the area.
The simplicity of the external façade is reflected internally where the space is divided into three naves. Other than the various paintings the most notable decoration is the marble three part altarpiece which sits on the main altar and is reputed to come originally from the workshop of Riccomanni and date from around 1470. Also from the same period there is an elegant and fine font for the holy waters and a beautiful tabernacle.

Pieve di San Pantaleone

Standing on Monte Pitoro, on the road for Massarosa, this Pieve is fronted by a large piazza from where one can enjoy the view of the surrounding hills, covered in olive groves, the slopes of which descend towards Massarosa and Versilia.
The lake of Masaciucoli can be seen to the south surrounded by what remains of the swamps and the more recent but now abandoned rice paddies; behind this and further south the plains of Pisa, with the city easily identifiable by its most distinguishing feature, the Leaning Tower. Looking west one sees the glasshouses of Viareggio and the full length of the Versilian coast. On clear days it is also possible to see the island of Elba and La Gorgona.
The church was founded in the IX century as were the Pievi of Camaiore and Valdicastello, all forming the north-western boundary of the extensive diocese of Lucca. Originally these Pievi shared the jurisdictional responsibility over numerous smaller dependent churches in the area.
The simplicity of the external façade is reflected internally where the space is divided into three naves. Other than the various paintings the most notable decoration is the marble three part altarpiece which sits on the main altar and is reputed to come originally from the workshop of Riccomanni and date from around 1470. Also from the same period there is the elegant and fine font for the holy waters and a beautiful tabernacle.

Pieve di Santo Stefano

The church stands overlooking most of the parish over which it presides. To the west of the church opens a magnificent panorama of rolling countryside, much of which belongs to the Tenuta di Forci.
The original medieval structure of the pieve dates from the end of the 12th century or the beginning of the following and there remains to this day an apse with three stone mullioned, arched windows as well as part of the original left façade of the building. It was extended in the 1500s with the addition of a portico on the front façade, while the inside was completely redesigned.
The original altarpiece by Zacchia, now housed in the museum of Villa Guinigi, is of La Madonna fra i santi Rocco e Sebastiano, ( the Madonna between the saints Rocco and Sebastian) is considered one of the artist's finest works but has been substituted by a 19th century copy by Michele Ridolfi. The church also possesses a precious late 16th century organ, built by Onoofrio Zeffirini.
The churches that make up the parish over which Pieve Santo Stefano presides are more interesting for their beautiful setting than their architecture or the works of art that they house. These would include the Church of San Tommaso di Castognori, the church of Santissima Annunziata di Vecoli and the church of San Martino in Vignale.

La Pianella properties

Mary Ann Robinson bought La Pianella from Sir Ian & Lady (Caroline) Gilmore in 2002, after visiting to view with friends.
At the time she had no intention of buying a property in Tuscany, but fell in love with the charm of the place!
Sir Ian was a cabinet minister in Margaret Thatchar's government, and he originally converted it from a barn, we believe 40 yerars previously.
Many of his friends & fellow politicians, such as Roy Jenkins & Douglas Hurd, stayed with them at La Pianella.
The Bonham Carters & Queen Beatrice of the Netherlands also visited.
Douglas Hurd wrote a murder story about the steep & dungerous road (then un-surfaced!) to the villa, in his book of short stories "10 minutes to turn the devil" which is good fun and compulsory reading for all our guests!!

Chiesa di Santa Maria Assunta

Scendendo dalla Pieve di Santo Stefano, si giunge a Carignano con la sua chiesa dedicata a Maria Assunta e costruita alla fine del Quattrocento come risulta dalla data scolpita sul portale d'accesso.
All'interno non mancano testimonianze d'arte: la tela del seicento sull'altare maggiore che raffigura l'Assunta, la coeva Madonna Addolorata di Ippolito Sani e la Madonna del rosario che risale alla fine dello stesso secolo.
L'opera più interessante è, senza dubbio, la statua in terracotta policroma che raffigura san Biagio vescovo, commissionata nel 1534 ad Agostino Marti, unica scultura di questo artista, noto soprattutto per le sue tele.