Firenze	Prato	Pistoia	Lucca	Versilia
Pisa	Siena	Arezzo	Golf	Wellness

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White and green. These are the colours of architecture in Pistoia in the Middle Ages. Towards the end of the 11th Century, the whole of Tuscany was overwhelmed by the desire for polychromy, a characteristic of Pisa and Lucca Romanesque, which took on its own special, clear features in Pistoia similar to Mozarabic architecture. The use of two colours, on the façades of the city’s most important Romanesque churches, created with precious white Carrara marble, or travertine from Monsummano Terme, and serpentine green from Prato, becomes gradually more complex taking on increasingly more distinct features.
From the façades of the churches of Sant’Andrea, San Bartolomeo and San Pier Maggiore, where the geometric bi-chrome marble decorations highlight the architectural structures, you come to the extravagant geometries of the side-façade of the church of San Giovanni Fuorcivitas where colour becomes a genuine protagonist, exploding in an imaginative and precious horizontal marble weaving, so that the insistent green and white stripes conceals and almost cancels out the architectural divisions.
White and green engulf the façade of the Cathedral in Cathedral Square, and the ancient steps of the Bishops’ Palace, which were later incorporated into the brick face, on the front of the old little church of Santa Maria Cavaliera, which has now been transformed into a civil building, and on the end of the bell-tower, triumphing again in the Gothic Age, with the awe-inspiring, refined face of the baptistery of San Giovanni in Corte, enriched with bas-reliefs, drips and spires.