After the ticket office and the wardrobe, visitors cross the entrance hall (the early-19th-century coach belonged to Maria Louisa of Bourbon) and enter the so-called “Footmen’s room”. This large hall, that was originally used as the building entrance, has monochrome decorations (19th-20th century) as well as depictions of the armorial bearings of the families related to the Mansis (Parensi, Arnolfini, Santini) and some portraits of ancestors. The Summer apartment is made up of five rooms, of which the first three, in succession, overlook via Galli Tassi. The arrangement of the rooms reflects on a smaller scale that of the first floor, as the first three rooms, which had an official function, have richer decorations than the two following, private ones. The walls of the first three rooms are adorned with lambris and the ceilings, frescoed around 1691 by a disciple of Pier Dandini, Florentine artist Giovanni Maria Ciocchi, represent didactic and allegorical themes (Truth unveiled by Time, Minerva defending the Muses, Allegory of Truth) within elaborate architectural motifs.
The paintings and part of the furniture come from various places: some of them are temporary loans, like the portrait by Antonio Franchi (Villa Basilica, Lucca 1634 – Florence 1709) depicting Pompeo Guasparini as the Summer, a painting that is part of a series of four centered on the theme of the seasons and commissioned by an important Luccan family, or the Imaginary Architectures (Lucca 1701 – 1783) by Gaetano Vetturali, a leading local exponent of the then-popular genre of landscape painting. Some items come from religious buildings and are here on temporary loan, like the precious organ by Andrea Ravani, the head of the Luccan organ-making school of the 17th century; other paintings, also on temporary loan, come from private collections.