On the first floor, this section displays fragments of frescoes with mock-inlay decorations from the church of Santi Giovanni and Reparata (5th century) and a selection of materials from late-antique buildings of the city and its territory, followed by a precious series of 8th-century artifacts testifying to the high skills of Longobard goldsmiths: the components of a precious funerary equipment, including a decorated belt, five little golden crosses and rare shield ornaments were found in the church of Santa Giulia. Again from the church of San Giovanni are the relief transennas documenting the flourishing of a Longobard-influenced stone-cutting workshop in Lucca and its territory between the 7th and the 8th century, and the phase of linguistic renewal promoted by the bishop Luca Anselmo da Baggio, future pope Alexander II.
The exquisite capitals from the church of San Giorgio in Brancoli date back to the 11th century, while the sculptures coming from the workshop of the Cathedral (Bust of St. Martin) belong to the following century. The second half of the 12th century sees the emergence of the sculptor Biduino, who is the author of the Madonna and Child Enthroned and of a capital decorated with lion protomes. Closely related to the latter works are the two slabs with St. Peter and St. James from the church of the same name in Altopascio. Behind them, a wooden painted cross from the church of Santa Maria dei Servi. An original and highly important document is the coeval sculpture representing a Lion clawing a man, popularly known as “the panther”.
The presence of Lombard stone-cutters in Lucca, already documented in the 12th century, dominates the Luccan scene in the 13th century; some examples of this period are the columns from the façade of San Michele in Foro and from the cloister of the monastery of San Giorgio, sculpted by Guidetto’s apprentices in his studio. In the following room, a wooden cross painted by Berlinghiero in the first half of the 13th century.