Lucca, Tuscany. The church of San Giusto

Fucecchio (pronounced / fuˈʧekkjo /; fučékki̯o, Ficeclum in Latin) is an Italian town of 23,343 inhabitants in the metropolitan city of Florence in Tuscany, in the lower Valdarno. The Municipality is located on the right bank of the Arno river, on the border between the metropolitan city of Florence and the provinces of Pisa, Lucca and Pistoia and near the wet area of ​​the Fucecchio Marsh. Its territory covers an area of ​​65 km², on average around 25 m s.l.m .; the town extends partly lying on a hill, which since ancient times has taken the name of "Poggio Salamartano", and for the most part in the flat area on its slopes. About 45 kilometers from Florence and 38 from Pisa, included in the Leather District, borders to the north with the municipalities of Chiesina Uzzanese and Ponte Buggianese, to the east with the municipalities of Larciano and Cerreto Guidi, to the south with the municipality of San Miniato and to the west with the municipalities of Santa Croce sull'Arno, Castelfranco di Sotto and Altopascio. The toponym is attested for the first time in 1027 [5] as "Ficiclo", "Ficecli" and "Ficecchio" and derives from the Latin ficetulum with the meaning of "wood of fig, place of figs ".

The fort of the Alberti di Prato once stood on the site where the present castle is located, which was almost completely razed to the ground in 1107 during the siege of the troops of Matilde di Canossa; in its place another palace, called "Palazzolo", was rebuilt to house the nuncios of the emperors Arrigo VI of Svevia and Otto IV of Brunswick (of which two towers remain, those without battlements, which until 1767-68 had about the double the current height); the area affected by the Castle has always been strategic, so much so that there are documents dating back to 1035 which testify to the presence of an older "palatium"; this building was the nucleus of Castrum Prati, the village that stood upstream of the building which also possessed an ancient parish church (Santa Maria in Castello, which no longer exists). The commission for the construction was given by Frederick II to Riccardo da Lentini, probably starting from 1240. The castle, originally tangent to the second walls (XII century), was partially surrounded by a moat and connected to the Albertian prisons from which definition " of the prisons "the nearby Marian shrine took its name. It has eight towers and has inherent, as for the Castel del Monte, various symbolic aspects, both in the structure and in the portal. Once completed it should have been used as an important garrison of the empire, testifying to the presence of the emperor on the possessions of the north. However, its construction was interrupted around 1250, due to the premature death of the emperor, and the unfinished structure was later used for many other purposes. During the fourteenth century, under the Florentine dominion, the castle was connected to the third circle of walls by a covered corridor called "Corridore del Cassero" (ie: corridor of the castle) or more simply Cassero. In this way the Florentine troops could easily enter the city from outside the walls using a protected passage.

The abbey of San Salvatore is located in the upper part of Fucecchio, in the province of Florence, diocese of San Miniato.

The parish church of S. Giovanni Battista Decollato opens onto the square of the village. The parish church of Montemurlo has an ancient and controversial history, we find the first trace of it when Otto III, on the occasion of his coronation as emperor (995), descends to Italy for Rome and on his journey (998) confirms the possessions of Bishop Antonino of Pistoia among which our pieve is noted. It has a simple plan, with a single nave with presbytery and choir, modified in the second half of the last century. Originally the parish church had very small dimensions and it was only during the 16th century that we witness the first expansion works carried out by the humanist Bartolomeo Fonzio, parish priest in Montemurlo from 1494 to 1520, who had the rectory and the cloister built alongside the church, of which however, the round arches and columns with Corinthian capitals now walled up can still be traced. The parish church is 'protected' by an imposing bell tower which was originally a watchtower then transformed and refined, in the first half of the 16th century as part of the transformations carried out by the active parish priest, with the large mullioned windows that we see on each side, surmounted by brick arches. The large window is supported by octagonal columns and the shutters of the arches that conclude the tower are decorated with a notched frame that also surrounds the roof. Entering the church we cross a loggia, added during the 17th century, supported by brick columns with Ionic-inspired capitals. The interior of the church, with a goat-like roof, is enriched by four aedicule altars, one of which dates back to the 16th century, a model for the others built in the 18th century. On the altars and walls of the presbytery, valuable paintings by the painters Francesco Granacci, Giovanni Stradano, Matteo rosselli and Giacinto Fabroni.

The church, with three naves, is built in white and green marble. It most likely dates back to the 6th century. It is one of the most important examples of religious architecture between the twelfth and fifteenth centuries in the region, with an elegant passage inside it between the large Romanesque-Lombard arches and the impetus of Gothic in the transept, most likely designed by the famous Giovanni Pisano , which inside will create a wooden crucifix and his last masterpiece, the Madonna della Cintola, in 1317. The relic of the sacred Cintola is kept there. The most important works are the external pulpit (built by Michelozzo and decorated by Donatello), the internal pulpit by Mino da Fiesole and Antonio Rossellino from 1472, the Madonna dell'Ulivo, the only work created together by the famous brothers Da Maiano, Giovanni, Benedetto and Giuliano. In the transept instead there are the frescoes by Filippo Lippi (in the Cappella Maggiore), one of the greatest expressions of the Italian Renaissance, the frescoes by Paolo Uccello (in the Cappella dell'Assunta), and by Agnolo Gaddi (in the Chapel of the sacred Cintola), all interior of a bronze gate made by some of the most important goldsmiths of the fifteenth century.

The Franciscan sanctuary of La Verna (province of Arezzo) is famous for being the place where St. Francis of Assisi received the stigmata on September 16, 1224.

The basilica of San Frediano is one of the oldest Catholic places of worship in Lucca, in Romanesque style, and is located in the homonymous square.

Fucecchio, Collegiate Church of San Giovanni Battista. Named after San Giovanni Battista, it stands on today's Piazza Vittorio Veneto, on the site of the ancient parish church.