Such living in the palace, however, is not documented and it seems unlikely since the branch of the family was descended from which the pope had his residence to another area of the city center, in via del Duca.
What is certain is that the four rooms that open to the visitor's eyes show a remarkable richness and care seventeenth-century furnishing homogeneity, with elaborate furnishings, precious objects, and a fine collection of paintings, all stored at walls covered with damask, coffered ceilings and frescoes from the XVIII century which decorate the upper halls. The apartment's visit makes us know the taste and artistic preferences of an aristocratic patrons who, while feeling the influence of Rome and Florence, is kept tied to the production of local artists, as reflected in the most important collection of paintings made from the canvases of the painter performed Pistoian hyacinth Gimignani (1606-1681).
In collecting ancient paintings rather lacking, except for the table with the Forefathers, the third decade of the sixteenth century, attributed to Fra Paolino, and the canvas with Bathsheba Bathing, Sebastiano Vini, the second half of the sixteenth century.
The entrance hall, which stands in a large wrought iron chandelier at eighteen lights, preserves as well as some firearms eighteenth-nineteenth century, four in the seventeenth century marble busts and portraits of four knights arrived here from Cellesi family the mid nineteenth century, some of the most significant paintings of the production of Gimignani as Joseph and Potiphar's wife, 1654, and others with subjects drawn from mythology (Hercules freeing Hesione and Alpheus and Arethusa) or from the Old Testament (Adam and Eve with Cain and Abel, brothers show Joseph's coat, and Joseph explains the dreams of Pharaoh).
The visit continues with two living rooms with gilded consoles, precious and Chinoiserie cabinets, the walls occupied by numerous paintings with other episodes inspired by mythology and the Bible, these are works of Gimignani and members of the XVII century, such as Jacopo Vignali (1592- 1664), Lorenzo Lippi (1606-1665) and Happy Ficarelli (1605-1669). In the second room, the corner, it is noteworthy the Portrait of Pope Clement IX, in a massive frame golden racemes topped by a crown. In the same room there is also a painting of the Death of Germanicus, now in the collection after 1828, previously was home Bracciolini from the Puccini family; According to tradition the work would be carried out in Rome by Nicolas Pussin (1594-1665) said that a subject already run for Barberini, between 1626 and 1628, and sent it to the Puccini family assistance thanks to him exercised when, from Pistoia during his first trip to Italy, I became ill.
It finally passes to the Pope's chamber where hits the big four-poster bed in red damask surmounted by a cartouche with vegetal motifs flanked by two putti that hold a ducal crown; This is the bed where he slept the pontiff during his stay in Pistoia.