During the Middle Ages, Pisa was one of the great cities of Europe with its 40,000 inhabitants and a wide commercial network. Although wounded and weakened by the defeats suffered at sea, the Republic of Pisa was able to remain independent until 1406, when it became part of the Florentine dominion and later, from the sixteenth century, of the Grand Duchy of Tuscany. The long-lasting crisis and the war ravages - from which Pisa only partially recovered during the sixteenth century, among other things, with the creation of the Order of Santo Stefano - inflicted serious damages to the city centre and thus also to its heraldic heritage, which should have been of great relevance considering the surviving monumental cycles of the Camposanto and of San Francesco's Church. Between the Trecento and the Quattrocento the leading class of Pisa was represented by at least a thousand families, and their heraldic heritage has survived till today in iconographic remains and in little known and used manuscripts. The seventeenth-century armorial presented here, once belonging to the noble Pisan family of the Galleti, fills this gap, since this is the first repertoire of this kind published in its original: it includes more than 400 coats of arms, painted with elegance, related to one half of the families that lived in Pisa during the Middle Ages and to other families which settled there between the Quattrocento and the Seicento under the rule of Florence. The painter of this armorial drew on original sources, such as tombstones or aristocratic palaces and he provides a very broad picture of the heraldry of Pisa, highlighting the basic characters, which consist of a remarkable simplicity and antiquity of the figures and of the syntax of the shields. The heraldry of Pisa, both noble and popular, is confirmed, as that of several Italian cities, as a broad phenomenon of a stilistic quality similar in level to the great noble heraldry of the rest of Europe. The full colour reproduction of the armorial is accompanied by essays by Alma Poloni, Laura Cirri and Alessandro Savorelli, by the blazons by Carlo Maspoli and by a critical apparatus, that involves systematic comparisons with the corpus of other iconographic and manuscript sources.