Lucignano, “Pearl of the Valdichiana”

The favorable location of Lucignano, on top of a hill on the border between the former estates of Florence, Arezzo, Siena and Perugia, has made it strategically important since olden times.

Like all boundary lands, it has undergone various cultural influences, but the connection with Siena remains the one that more than any other has characterized the urban and artistic development of the town. Mostly Sienese are the artists who produced the works of art preserved today in the Municipal Museum, including the extraordinary Golden Tree, a jewel of medieval goldsmithry and a compendium of Franciscan symbolism.

Lucignano is part of a privileged tourist network. In a very short time you can easily reach the most renowned towns of central Italy (28 km to Arezzo, 35 km to Cortona and Lake Trasimeno, 45 km to Siena, 70 km to Perugia, 80 km to Florence), although this village remains part of a hidden Italy, the more authentic and untouched by mass tourism. As far as the horizon, a cultured countryside in complete harmony with the landscape, gives the visitor the feeling of a place suspended out of time.

The quality of a stay in Lucignano is also guaranteed by the “Orange flag” of the Italian Touring Club, awarded for the care of cultural heritage, environment and hospitality.

Traces of the Past

Etruscans and Romans

Like many Tuscan towns, Lucignano also boasts Etruscan origins. In the immediate vicinity of the village two necropo¬lis were discovered during the 19th century, whose hypogeal chambers have been dated between 7th and 6th cent. BC.

The one in locality Poggio dei Morti (Dead’s hill) - Casalta gave cinerary urns, gold and silvery jewellery, Attic and Etruscan vases with red figures, which are conserved in the Archaeological Museum of Arezzo, and a cinerary statue now at the British Museum. The other necropolis of Moscino yielded buc¬cheri, Corinthian vases and cinerary urns now conserved in the Archaeological Museum of Siena.

Traces of the Roman age, are to be searched in place names and in Literature. Strabo (Geographia, V) and Pliny the Elder (Historia Naturalis, XV) remember Lucignano and the qualities of its oil. The name Lucignano is supposed to derive from the Roman Licini family, who was the owner of vast agrarian properties in this land.

Tradition also recalls a triangular tower known as Torre Sillana, which is supposed to be built by Silla during the conflict against Marius, in the place where today stands the Collegiate Church.

The Middle Ages and the Modern Era

Lucignano is one of the most interesting examples of medieval town planning for his elliptical structure based on concentric rings.

The town entered the orbit of Siena at the end of 1200 and throughout the XIV century it passed hands several times between the dominant cities: Arezzo, Siena, Florence and Perugia, each of which contributed in different ways to the development of the current Lucignano.

The winged griffin in the coat of arms of the Community is a legacy of Perugia; Siena realized the city walls, as well as the keep, which was completed in 1374 by architect Bartolo di Bartolo; Florence erected the Fortress outside the walls.

If the XV century was a quiet and flourishing time, marked by the domination of Siena, in the middle of 1500 tranquility was disturbed by the hegemonic design of Cosimo de’ Medici, who undertook a number of military actions in the region of the Republic of Siena, like the Scannagallo Battle, until he conquered all Sienese territories.Then, Lucignano lost its military relevance and became a peaceful agricultural village.

The arrival of Napoleon and the subsequent annexation to the French Empire briefly disrupted the life of the country (1808-1814), and left an indelible mark with the suppression of St. Francis’ monastery.

Lucignano outside the Walls

The Fortress

On the hill opposite the village lay the remains of the military Fortress.

The Sienese authority had already identified the need for a Fort outside the walls of the town, but they did not have time to realize it because in 1553 Lucignano passed again under the domination of the Florentines.

Duke Cosimo commissioned the construction of the fort to one of the most influential military architect: Bernardo Puccini. In 1559 only two bastions were hardly completed: bulwark Calcione to the north, and bulwark of Purity, to the south.

Moreover, because of the capitulation of the Republic of Siena in Montalcino, the fortifications were no more necessary.

Santa Maria della Querce (Holy Virgin of the Oak) Sanctuary

Just beyond the Fortress, stands the 15th century Sanctuary of Our Lady of the Oaks, built following a miraculous vision of the Virgin.

The church was built in the place where, since long time, the inhabitants of Lucignano visited a galactophorous spring in order to draw water that cured hypogalactia and sterility in both humans and animals. The building, which is attrib¬uted to Giorgio Vasari, one of the most prestigious architects of Italian 16th century, is characterized by a rectangular layout with three naves and a pitched roof that is raised in correspondence with the central nave. The façade of the building is simple, as valued in Renaissance style.

Inside, the central nave is covered by box vaulting, interrupted in the transept by an elegant slender cylindrical dome lantern supported by power¬ful pilasters and crowned by a lantern adorned with slim pilasters.

On the walls are exposed many votive offerings, the most ancient dating back to the 16th century.

The Walls and Gates

San Giusto gate opens up in the south-western stretch of the walls, facing Siena, and is the point of privileged access to the historic centre of Lucignano. The gate, rectangular in design, is incorporated in the walls and carries on the façade a copy of the Medici coat of arms fallen in 1965.

Turning right, we enter Via Matteotti, the main street of the village, called Love street in the olden days because of the close link with the city of Siena, or even Rich Burgh, because here overlooked the palaces of the most influential and powerful families. Between these buildings opens up Sant’Angelo gate, closed at the end of the 18th century, and forgotten until the 20th century. Today, it is a sim¬ple passage incorporated within the walls. A little further on, the hospital Sant’Anna, founded in 1397 and operative up to the last century.

The street ends with San Giovanni gate, characterized by a pentagonal design.

The street that from here closes the circle is Via Roma, once known as Poor Street as it was the place where the more humble classes of the village lived: it hosted numerous artisan activities, small shops and modest commercial activities. Walking on, we line the Monks’ garden, utilized for cen¬turies by the local community for the simple domestic cultivations.

Further on, opens up Porta Murata (Walled Gate) thus named because it was walled up in the 16th century and reopened only at the end of the last century. Typical example of medieval military architecture, it has evidence of it original flooring in sandstone and calcareous cobbles.

Along the steps of San Giuseppe, a short distance from the church, on a stone placed right in the cor¬ner of a house we can read “Freedom of speech and chant”. According to a verbal tradition, this is a pre¬cise reference to the division of the village into two different realities: the upper part was the seat of the political and religious power, with the Council Palace, the churches and the monastery, where the silence predominated; and the zone immediately below, where the entire existence of the population of Lucignano unfolded.

The Keep and the Loggia

The Keep was build in the 14th century by Sienese craftsmen. Since 1554, the year of the defeat of the Sienese armies in Scannagallo, it lost its function as a fort and was used as a deposit for wheat, later in 1829 it was transformed into a theatre. On the façade, two coats of arms stand out clearly: they depict respectively the balzana, the black and white Siena’s coat of arms, and the rampant lion, both recalling the dominion of Siena.

In front of it lays Piazza delle Logge, realized after 1558 in order to complete the square in which we can now trace the symbols of the three powers: religious, civil and military.

The Collegiate Church of St Michael

The Collegiate Church is located on the southern side of the Courthouse square, where once stood a large and powerful fortress – possible of Lombard origin – destroyed by a bolt of lightning in May 1556. A small church, dedicated to St Michael too, was set against it. It was decided, after the demolition, to build a larger church there, to take care of the entire population of Lucignano.

The shape of a Latin cross with a eight-sided dome is due to the local architect and painter Orazio Porta, while the magnificent external staircase, made of traver¬tine, which with its elliptical shape recalls the town-planning of the village, was designed by the Jesuit Andrea Pozzo in 1712.

The façade was completed only in its lower half and is characterized by a brick face and four sandstone pilasters. The portal, made of sandstone too, was executed in 1715.

The inside of the church hosts interesting paintings of 17th century. The Chapel of SS. Sacramento, decorated by Luigi Ademollo houses the 14th century Miraculous Crucifix, once in the church of St. Margaret, currently impracticable.

St Francis Monastery

The Church of Saint Francis, one of the most distinguished examples of Tuscan Gothic Architecture, was begun in 1248, and was finished unquestionably before 1289, when the act of submission to Siena was confirmed inside the Church.

The elegant façade shows sand¬stone and travertine horizontal strips. The graceful portal, made of travertine too, is sur¬mounted by a sandstone rose window.

The paintings that decorated the side chapels are now conserved in the Municipal Museum, while it is still possible to admire a polyptych by Luca di Tommè (ca. 1330-1389) on the high altar, the wooden statue the Virgin of Crespignano and the 16th century organ, one of the oldest functioning organs of Italy.

On the walls, originally fully painted, only part of the frescoes attributed to Taddeo di Bartolo and Bartolo di Fredi are now visible, a part of them damaged or covered by the 16th – 18th century altars.

The right side of the transept is entirely frescoed with stories of St Francis, Saints, and a Visit of the Three Wise Men. Among the chapels in the nave the famous Triumph of Death dominates in beauty and interest.

The triumph of death is a theme that became frequent in many Franciscan churches during the second half of the 14th century after the big plague epidemics, as the Black Death of 1348. The most famous example is the fresco of the Cemetery of Pisa by Buffalmacco.

High up, to the left, is depicted Christ, who admonishes the observer and invites to meditate on the tragedy that is taking place in front of his eyes: “O TU CHE LEGGI PONCHURA AI COLPI DI // CHOSTEI CHOCISE ME CHESO SIGNIOR DI LEI” (You reader pay attention to the blow of the one who killed me, who am master of her). Lower down on the left, the figures of four elderly and poor people are visible, in shabby clothes, longing for Death. Above this group, an inscription reads: “POI CHE PROSPERITA’ // CIA LASCIATI OMORTE //MEDICINA AOGNI PENA VIE(N) // CI ADARE OMAI LUTIMA CENA” (Since wealth left us, oh Death, medicine of every sorrow, come and give us the last supper). On the right are depicted two young unaware men in train of hunting. In the centre of the fresco stands out the figure of Death on a black horse, armed with bow, arrows and a tall scythe: the poor at its shoulders, it leans towards the group of young men.

La Chiesa della Santissima Annunziata

The Church of the SS. Annunziata constituted the oratory of the Confraternity of the Misericordia, one of the oldest religious congregations established in Lucignano.

Inside, the high altar made of carved and gilded wood is datable to 1583 and occupies the whole back wall, containing eight paintings of the late 16th century Tuscan school.

Two glazed terracotta statues have also been placed on the side walls: the Angel and the Virgin of the Annunciation by artists of the workshop Della Robbia.

A Museum of Charity was recently set up in the sacristy. In it are displayed numerous pieces of furniture, garments and furnishings of the Confraternity which for centuries has been engaged in charitable services in favor of the population of Lucignano.

The Municipal Museum

In the highest part of the village stands the 13th century Town Hall. Between the stones of the façade are still visible many coats of arms and inscriptions of ancient mayors and deputies. The first floor of the building was once occupied by the offices and apartments of the Magistrate, and today it is still the seat of the municipal offices and of the beautiful Council Hall, painted with frescoes by Luigi Ademollo in 1812.

The ground floor of the Palace, ancient seat of the Court and prisons, now houses the Municipal Museum, opened in 1924 to collect and exhibit the most precious masterpieces of Lucignano.

#1 Crucifixion

The icon of the Crucifixion is the most ancient piece preserved in the Museum of Lucignano. This is a wooden panel of the second half of the 13th century, realized by artists from Arezzo and originally placed in the Church of St Francis. It has been damaged and restored several times during the 19th century for instance, at some point in the previous staging of the works for the museum, not recognized, it was used for mixing lime. Fortunately someone noticed the painting on one side and immediately the restoration began.

# 2 Enthroned Virgin and Child with Donor

The Virgin Enthroned and Child by Niccolò e Francesco di Segna is a 14th century spire panel that comes again from the Church of St. Francis. The background, once gilded, has punching along the frame and all around the heads of the characters, to draw the halos.

In the lower right corner, the commissioner knelt in prayer is portrayed, diminished in size compared to the Virgin. The inscription that runs to the base of the throne reveals the identity of the woman "Mrs Muccia who was wife of Guerrino Ciantari", a rich and pious widow, who donated this piece to the Church of San Francesco.

# 3 Enthroned Virgin and Child with St. John the Baptist and St. John the Evangelist

The triptych is by Bartolo di Fredi (1330-1410), a painter who lived and worked during the second half of the 14th century in Siena, San Gimignano and Montalcino.

The triptych of Lucignano is the central part of an altarpiece consisting of five boards, whose external parts, now lost, portrayed Saint Lucy and Saint Petronilla or St. Peter the Apostle. At the base was originally placed a dais, also in five compartments, which is now conserved in the Picture Gallery of Siena.

This work comes from the Church of St Francis in Montalcino. In 1910 it came into possession of the Angeli family of Lucignano. In 1923 it was donated to the Museum by Carlo Angeli, first curator of the Museum.

# 4 Virgin Enthroned with Child, St. Peter and St. John the Baptist

The wooden tablet, stolen in the 70’s, is what was found back of a spire tablet composed of two other parts: an Annunciation at the top and Saints Catherine of Alexandria, Michael, Francis and Mary Magdalene at the bottom. It is an early work of Lippo Vanni, a 14th century painter and miniaturist from Siena, whose masterpiece is the cycle of frescoes in the hermitage of San Leonardo al Lago (SI) .

This work was commissioned by Ser Piero de' Vanni, sponsor of the hospital of St Anne, built in 1397 thanks to his bequest.

# 5 Golden Tree

The Tree of Life or Golden Tree, or even Tree of Love stands in its almond shaped window at the center of the Museum of Lucignano, the spiritual center of the town. The Tree is a large reliquary: the small trefoil hanging in pairs on each of its twelve branches are shrines that once retained Franciscan relics and fragments of the Cross of Christ. As stated in a long inscription that runs along the foot of the Tree, the beginning of the work dates back to 1350. Nevertheless, it was completed only in 1471, 120 years later, by the master goldsmith Gabriello di Antonio from Siena.

The quatrefoil base supports the drum, on which are grafted first a small temple in Gothic style, then the twelve branches and finally, on the top of the Tree, a crucified Christ and a pelican, the Christological symbol of the animal that injures itself to death to feed its children.

The medallions that decorate the branches contain miniatures on parchment depicting the prophets, while on the back are characters of the New Testament realized on embossed silver and enamel. The tree was originally stored in a wooden cabinet painted, according to a contract still preserved in the Archives, by the painter Luca Signorelli from Cortona, one of the most prestigious artists of the time.

The Tree, symbol of divine love, has originated a legend, according to which lovers exchanging vows in front of its branches receive good luck.

This legend gave the idea for two initiatives promoted by the Town Council: "Signs of Love", on February 14th, and the more recent "Feast of the Spouses", the first Sunday of September, in partnership with the famous Japanese stylist of wedding dresses Yumi Katsura.

The tree also witnessed the travel / research of the two protagonists of Certified Copy, a film by Abbas Kiarostami (2010).

# 6 Audience Hall , frescoes

The Audience Hall was once the place where the Priori of Lucignano administered Justice, so the walls are painted with illustrious personalities of the past with the dual aim of paying tribute to the greatness of the Ancients and to serve as a warning and example for the men entrusted with the difficult task of governing. The frescoes, commissioned by the governors who took turns in the times of Sienese domination, are drawn from the history and myth of ancient Romans and Greeks, as well as from the Bible. We recognize kings and emperors (Caesar, Augustus, Constantine, Justinian) , poets and philosophers (Aristotle, Boethius, Virgil), biblical heroes (Samson, Judith, Judah Maccabee, Noah), mythological characters (Hercules and Janus), saints (St. Paul) and other famous Romans (Pompeus, Camillus, Brutus, Metellus, Muzio Scaevola, Lucretia, Cato of Utica) . Above all lies the Majesty by Agostino di Marsilio, guarantor of justice well administered and well-conducted, flanked by the guardians of Lucignano.

Another note of interest of this cycle is the presence of many inscriptions based on the Divine Comedy: for the first time, the heroes proposed as example are personalities that embodied Dante’s idea of justice and freedom.

# 7 St. Francis receiving the Stigmata

The lunette depicting St. Francis receiving the stigmata is dated around 1510-12 and was attributed to Luca Signorelli (Cortona, 1445 ca. -1523). The scene is composed according to the biography of the Saint by St. Bonaventura: St Francis is kneeling in front of a rock while his hands, his feet and chest are pierced with golden rays from a creature appeared in the sky, part Christ and part Seraph Angel; opposite is Brother Leo, Francis’ mate on the Mount Verna. For years it was believed that it was the only surviving part of the closet commissioned to Luca Signorelli to protect the Golden Tree, but it has now been demonstrated that it was rather an altarpiece.

#8 Virgin and Child

Beside is a Virgin and Child, which also comes from one of the altars of the Church of St Francis. This painting is attributed to the workshop of Luca Signorelli but it's difficult to find out because of the many interventions: notice the presence of other characters on either side of the Virgin, now covered by a fake golden punching. The little child is naked, as to give relief to his human nature, thus reflecting the high degree of naturalism typical of humanist culture and Renaissance.

#9 St. Bernardino from Siena

Next, a painting by Pietro di Giovanni d'Ambrogio depicting St. Bernardino from Siena in the act of preaching against the vanity of earthly things. The Saint is dressed in the traditional Franciscan robe, under his feet are three mitres, the sign of his threefold denial to the office of bishop, in favor of a more humble and poor life. In the open book on his left hand is written: "know the things about heaven, not about earth"; in the right hand almost suspended between his fingers is a golden disk with the Christian monogram "JHS" i.e. "Iesus Homini Salvator" surrounded by 12 sunbeams, how many as the apostles. His head is encircled by a halo in a radial pattern, which is typical of the blessed, because at the time of this painting, 1448, he had not yet been canonized. The painting comes from the Church of St Francis, exactly from the Chapel of San Bernardino, consecrated in the year of his canonization (1450).

#10 Holy Items

The glass case contains some objects that come from the Sanctuary of Saint Mary of the Oaks: an incensory and spacecraft, dated 1628; a box made of wood and bone by the Embriachi Workshop (Genoa, XIV – XV cent.) and a processional cross, realized between Umbria and Tuscany, depicting the crucified Christ with God the Father between Saint Sebastian and Saint Rocco (early XVI cent.).

#11 Funeral beds

The last room contains two pairs of catafalque of the 17th and 18th centuries. This funeral furniture was once used by Brotherhoods to transport the deceased to the burial and to allow exposure in the headquarters of the Brotherhood. This kind of catafalque with painting appears in the 15th century and is a local habit of Sienese area.

The first pair, dated 1626, comes from the Collegiate Church of St. Michael the Archangel, while the second pair is from the Sanctuary of Our Lady of the Oaks, where those brotherhoods were hosted. The frames are made of a fine carving with supports in the shape of lion's paws.

Life in Lucignano

The territory of Lucignano has always been a land dedicated to agriculture. Many farms commit themselves in order to offer the best of their productions: wines of excellent quality, extra-virgin olive oil and in recent times also a limited but excellent production of honey, fruit and vegetables.

In addition to the numerous architectural and artistic beauties of the historic centre, Lucignano offers to the visitors an environment of great value which man has succeeded in modeling according to his own necessities, that can be enjoyed moving around by foot, horseback or mountain bike.

Food and Wines

The cuisine of Lucignano is linked to the agricul¬tural tradition of the Valdichiana, and it uses the ingredients of the most classic and healthy Mediterranean cuisine. Usually the dishes are simple, not very elaborate, but with definite flavors and highly nourishing, because in olden times they had to cope with the intense exertions of the farmers who worked all day long in the fields.

Starting from the hors-d’oeuvres, we can mention bruschetta, once known as panunto (oiled bread) a slice of toasted bread rubbed with garlic and spread with extra-virgin olive oil. More articulate are crostini neri (black canapés), the hors-d’oeuvres of special occasions, made with ground chicken’s liver and spleen. Among the first courses, our summer tables cannot lack a good plate of panzanella, a very simple dish with a base of stale bread, onion, basil, vinegar and extra-virgin olive oil, which can be enriched with other vegetables. On the contrary, in winter a good bread soup containing vegetables, black cabbage and beans, good just cooked but excellent when heated up the next day: that is ribollita [meaning re-boiled; but also reheated cabbage and bean soup]. Moreover, among the first courses homemade pasta stands out, specially the pici, a type of homemade spa¬ghetti that is the typical culinary expression of the Sienese Valdichiana and is superb when dressed with goose sauce.

We must not forget Chianina breed cat¬tle, which was once a work animal, but today is raised above all for the production of meat and is world famous for the famous Chianina steak.

Among the desserts we can recall ciambellini [ring-shaped cakes], which were once served only during Easter time, and are thus named due to their doughnut shape, and the gattò, from the French word gâteau, a dessert made from flaky pastry covered with cream, rolled out, and served cut into slices.

Events and Folklore

The Maggiolata, the May festi¬val which more than any other distinguishes Spring in Lucignano, takes place on the last two Sundays of May. The first Maggiolata was celebrated in 1937 and took place in the austere simplicity of those times, with farm carts full of Spanish broom drawn by Chianina breed oxen decorated with ribbons and red tassels. At present, it consists of a parade of allegorical floats, realized by the four districts of Lucignano, completely covered with flowers and accompanied by musical bands and folkloristic groups coming from all parts of Italy and even from abroad. The ancient Commander of the Guards, who opens the historic procession with soldiers, drummers, and clarion players, announces since early morning the beginning of the parade. The carroccio [cart], symbol of the Municipality of Lucignano, drawn by oxen, brings up the rear of the parade.

On the second Sunday, the manifestation concludes with the Battle of the Flowers, during which the floats are completely stripped and the residents throw flowers at each other, thus giving rise to an unusual and characteristic battle.

Another folkloristic appointment takes places in the month of September: Memories of the Past. This is a historic commemoration that enact scenes of the daily life of the end of the 19th century - beginning of 20th century. The last weekend of September, along the streets of the village, several artisan workshops bring back to life the trades and crafts of those times, while policemen, farmers and gentlemen in costume recreate the colorful and noisy atmosphere of the days of celebration.

In June the pro-loco association organizes Camminmangiando, an excursion that starting from the village goes along country paths and leads to the Calcione Castle, that stands on north-western hills offering breathtaking views. The journey is divided into four sec¬tions, at the end of each one there is a tasting of a typical dish: cold cuts and crostini at the first stop; pasta dressed with the exquisite and forgotten sauces of our tradition at the second stop; next grilled Chianina meats and finally cantucci and vinsanto.

The night of saint Lorenz, on August 10th, is celebrated with Calici di stelle, in the characteristic scenery of Piazza del Tribunale.

The exhibition of Extemporary Painting takes place at the end of October. The theme is always Lucignano in its different aspects: the people, the monuments, the countryside with its colors and lights that convey to this village a halo of appeal and fascination.

The Fiera del ceppo [Stump Fair], takes place on the weekend preceding Christmas. It is the occasion for promoting the typical products of our zone, from honey to sausages, from wines to extra-virgin olive oil. In this occasion the best olive oil of Lucignano is awarded and is organized the photographic contest ClickOliva.

Finally, Love signs is a recent event that takes place at the Museum, in the Golden Tree Room, on February 14th, Saint Valentine’s Day. Lovers are invited to the Museum where a different show is planned every year.

Lucignano and the cinema

The corners, squares and views that offers Lucignano have often been the object of the attention of important film makers, who have not hesitated to transform the entire village into a movie set. Already in 1985 Mario Monicelli filmed the exteriors of his Le due vite di Mattia Pascal, freely adapted from the famous novel by Pirandello, which had the unforgettable Marcello Mastroianni as its protagonist. During the summer 2009, Lucignano was transformed once again for a very important event. The Iranian film director Abbas Kiarostami, recipient of many awards and for the first time outside of his own country, directed the film Copia conforme, inspired by an episode that he truly experienced. The great protagonists were the French actress Juliette Binoche, already Oscar winner as best supporting actress in The English Patient, and the English baritone William Shimmel. The film was presented at the Cannes Festival, where Juliette Binoche once again received an award.

Table of Contents

Lucignano, “Pearl of the Valdichiana”

Traces of the Past

Etruscans and Romans

The Middle Ages and the Modern Era

Lucignano outside the Walls

The Fortress

Santa Maria della Querce (Holy Virgin of the Oak) Sanctuary

The Walls and Gates

The Keep and the Loggia

The Collegiate Church of St Michael

St Francis Monastery

La Chiesa della Santissima Annunziata

The Municipal Museum

#1 Crucifixion

# 2 Enthroned Virgin and Child with Donor

# 3 Enthroned Virgin and Child with St. John the Baptist and St. John the Evangelist

# 4 Virgin Enthroned with Child, St. Peter and St. John the Baptist

# 5 Golden Tree

# 6 Audience Hall , frescoes

# 7 St. Francis receiving the Stigmata

#8 Virgin and Child

#9 St. Bernardino from Siena

#10 Holy Items

#11 Funeral beds

Life in Lucignano

Food and Wines

Events and Folklore

Lucignano and the cinema