circular basin. It is the craftmanship of master Roberto (his signature is on the basin) and two unknown masters. The basin is decorated with The Story of Moses by a Lombard sculptor. Master Roberto did the last two panels The Good Shepherd and the Six Prophets. The tempietto was sculpted by a Tuscan master, representing the months of the year and the apostles. Behind this font, higher on the wall, are two 15th century glazed terracotta lunettes: The Annunciation and St. Bartholomew, both attributed to the school of Andrea della Robbia. There is another baptismal font, still in use, carved and adapted from a sacramental altar by Matteo Civitali in 1489. The counterfaçade houses the 16th century organ in the exquisitely carved, gold-plated choir from the 17th century. On the right hand is the side chapel of St. Zita (c. 1212-1272), a popular saint in Lucca. Her intact mummified body, lying on a bed of brocade, is on display in a glass shrine. On the walls of the chapel are several canvasses from the 16th and 17th centuries depicting episodes from her life. The remains of St. Frediano lie underneath the main altar from the 16th century. A massive stone monolith stands left of the main altar. This was probably pilfered from the amphitheatre of Lucca. But local tradition has it that it was miraculously transported to Lucca by San Frediano and used as a predella (step of an altar) for the first altar. Chapels The Trenta chapel in the left aisle houses the polyptych of the Virgin and the Child, a 15th-century masterpiece by Jacopo della Quercia, carved with the help of his assistant Giovanni da Imola. Below the altar is a Roman sarcophagus with the body of St Richard the Pilgrim, an English “king” (of Wessex), who died in Lucca in 722 while on pilgrimage to Rome. He was the father of Saints Willibald, Winibald and Walpurga. On the marble floor lies a tombstone of Lorenzo Trenta and his wife, equally from the hand of Jacopo della Quercia. Among the many chapels, the Chapel of the Cross certainly stands out. It contains frescoes, recently restored, by Amico Aspertini (1508-1509). The blue vault shows us God surrounded by angels, prophets and sibyls. Above the altar is an anonymous 17th-century painting representing Volto Santo, St. Augustine and St. Ubaldo. On the right wall is the fresco of St. Frediano displacing