The money changers and other merchants known as ‘speciarii’ (sellers of aromatics) had their stalls under the portico of the church. A special office… - Enrico Ridolfi

The exterior of the Cathedral of San Martino in Lucca does not have the same harmony of style as the interior; on the contrary, the architectural features of the different centuries to which the various parts belong are clearly visible, and even a different style, due to the fact that it was designed by Comacine and Tuscan craftsmen. Many of these parts, however, are beautiful, notably the interior of the atrium, the north side and the rear. (pp. 5-6)

Although the Cathedral of Lucca is not one of the largest churches built in Italy during the Middle Ages, it is nevertheless one of the most remarkable for its structure and one of the most beautiful, especially inside, thanks to the harmonious lines and the admirable balance between the fantastic and the severe, which gives the building a truly sacred and solemn character, achieved in equal measure by very few of those that surpass it in size and richness of ornamentation. (p. 5)

[...] in Lucca Cathedral [unlike that of Florence] it seems instead that the neglect [of the stained glass windows] has been very great, and perhaps no thought was ever given to repairing them until, due to the quantity of missing glass, they were in such a state that they could no longer be ignored; and even then, instead of having them carefully restored by a skilled craftsman, the repairs were carried out in such a way that they could not have been done worse. The only round window that remains and those of the choir, especially the large stained glass window that had suffered the most, clearly show how the work was carried out; that is, broken or damaged pieces of glass were replaced with other pieces of glass at random, of whatever colour they were, if coloured ones were available (perhaps remnants of some of the small windows that had been completely destroyed) or white ones, which were given any colour, without any concern for whether the designs of the figures and ornaments were badly distorted and disfigured. (p. 221)