Apulian Romanesque
The Apulian Romanesque is that culture that developed in Puglia between the eleventh and the first half of the thirteenth century, especially in architecture, sculpture and in the art of mosaic.
Puglian ports were frequented by pilgrims heading to the Holy Land and were also the starting point for many participants in the First Crusade in 1090. The main cultural component of this architecture is Nordic and linked to the Normans; famous example is the verticalism of the cathedral of Trani and the double facade tower. Also the sculpture presents a Norman component linked to northern Europe. An important example of the cultural context of the Apulian Romanesque is the valuable mosaic of the Cathedral of Otranto with themes related to the Vikings and the Arthurian cycle.
The Pugliese Romanesque through the movement of artists (like Nicola Pisano) led to artistic renewal in other parts of Italy.
Architecture
Puglia and Basilicata
In religious architecture, the Apulian churches received characters of Roman art elaborated in other areas of Europe (France, Provence, Normandy, Germany, northern Spain) and Italy (Lombardy, Pisa) composing them with elements of Byzantine and Arab art of time, and reworking them in a peculiar and in many ways autonomous scheme. One of the most representative buildings is the Basilica of San Nicola in Bari, which began in 1087and finished towards the end of the twelfth century. Externally it has a massive appearance, like a fortress, with a salient façade, closed on the sides by two unfinished towers, decorated with hanging arches and with a little pronounced protiro with oxen stilofori according to the Lombard and Emilian models [ without source ].
The motif of the double towers instead refers to transalpine examples, and is also explained by the Norman presence of the Altavilla; the signs of two other towers are present in the rear area of the building, where a particular continuous wall structure opens to close the three apses.
The plan has three naves, with the lateral ones provided with further vaulted walls that reinforce the structure; the main nave is not very long and was originally covered with trusses. The matroneis are the oldest in southern Italy and end at the main altar, where the space widens to form a transept that does not protrude from the rectangular plan of the building: here it was planned the construction of an octagonal dome, which would have accentuated, together with the towers, the verticality of the complex. The internal spatiality, however, is compromised by two arches that open onto the central nave at the height of the women’s gallery: they were added in the XIV century to further strengthen the structure.
The basilica of San Nicola represented the model of reference for other churches in Puglia with matroneo and ceiling trusses, as the same cathedral of San Sabino always in Bari.
The dome of Bitonto was built between the ‘ XI and XII century and presents the tripartite facade by pilasters and having three respective portals, among which stands out the central richly carved with scenes of the New Testament. In the upper register of the façade two mullioned windows open up, and, higher up, there is a rose with sixteen arms, flanked by sphinxes.
The interior, with a Latin cross plan, is divided into three naves each ending with a semicircular apse. On the sides of the central apse, larger than the lateral ones, there are two pillars that should have supported a dome never built. The central nave and the transept are covered with precious wooden trusses with polychrome decoration, while the side aisles, surmounted by women’s galleries, are covered with vaults. It preserves a precious ambo and the crypt with a mosaic representing a griffin.
Another notable example is the cathedral of Trani, which ended in the middle of the 13th century. It was built near the sea, as a reference point for navigation thanks to the light of the material used, the local calcarenitic stone known as the Trani stone; the façade recalls the profile of that of St. Nicholas, but it is not tripartite by pilasters and does not have the double towers and the porch.
Stylistically close to the cathedral of Trani is also the cathedral of Ruvo di Puglia while the cathedral of Matera was built in the thirteenth century with a facade dominated by the rose window with sixteen rays.
An important example of Pugliese Romanesque is also the cathedral of Otranto built on the remains of a Roman domus, a Messapian village and an early Christian temple. It was consecrated to the cult on 1st August 1088 during the papacy of Urban II. Inside it preserves an important floor mosaic executed between 1163 and 1166 by the Basilian monk Pantaleone.
Other influences are found in the church of Saints Niccolò and Cataldo in Lecce (1180), in the Basilica of the Holy Sepulcher in Barletta, both with Burgundian influences, or in the cathedral of Troy (completed in 1119) which betrays Pisan influences in the lower register, Armenians in flattened reliefs on the architrave, Muslims in the capitals, Byzantines in the bronze doors. Unique and particular is the cathedral of Barletta, which presents a harmonious and evocative blend of Romanesque and Gothic.
Specific examples of Pugliese Romanesque are represented by the hall churches with domes in axis; this is the case of the Cathedral of San Corrado in Molfetta and other churches of Trani. In particular, in the Cathedral of San Corrado the scheme of the hall church merges with that of the domed church, to give light to a unique compact structure that bears witness to the great maturity achieved by the Apulian masters in the construction of masonry vaults. An eccentric case in the panorama of Romanesque-Pugliese architecture is represented by the small rural church of Santa Caterina in Conversano (12th century)), with a four-lobed plan and an octagonal tiburium containing a small internal hemispheric dome. In this case, the models seem to be Byzantine ones.
In the area of Salento, we witness examples, preserved to us, of “minor Romanesque”, simpler both in size and in architectural solutions, compared to the buildings raised in the main transit centers of the region in the Middle Ages.
Of particular importance is also the Cathedral of Foggia which presents the entire lower part in pure Romanesque, while the superior is affected by the reconstruction during the Baroque following a violent earthquake that partially destroyed the city. It is the pride of all Puglia precisely for this typicality.
Dalmatia
The contacts of Puglia with Dalmatia, between the twelfth and thirteenth centuries in particular, were evident from an architectural point of view. In fact, of this period are the influences of the Apulian art that gradually spread inward.
Among the most important examples is the Cathedral of Trogir, dedicated to San Lorenzo and built from the thirteenth century on the remains of an ancient basilica following Romanesque-Gothic canons. The interior had the ceiling of the central wooden nave while the side aisles were covered with cross vaults, typical of the Apulian churches. A series of blind arches decorate the external walls. The most important work of the church is undoubtedly the Radovan portal built in 1240. It is richly sculpted and is the most important example of Romanesque sculpture in Dalmatia. It consists of four parts: on the outside of the door jamb, there are sculptures of Adam and Eve, supported by lions, and inside there are numerous reliefs with scenes of daily life organized in the monthly calendar, and hunting scenes; in the middle, there are scenes from the life of Christ (from Annunciation to the Resurrection), arranged in arches around the tympanum; finally, in the tympanum, the birth of Christ is represented.
Not less important is the cathedral of Zadar. Dedicated to Santa Anastasia, it dates back to the 13th century and is characterized on the outside by a series of blind arched niches on both sides and on the front, where it also has two rosettes with radial columns and three portals. The interior has three naves, with thin columns supporting a gallery and figurative bas-reliefs.
Notable example is also the Kotor Cathedral : its bell tower is reminiscent of the church of St. Nicholas of Bari. The destroyed church in Ragusa also had the side walls like blind arches to those of the cathedrals of Bitonto and Bari. Highlights include the church of San Giorgio di Bar and the cathedral of Split, where wooden doors by Andrija Buvina are preserved around 1220.
Sculpture
Some important sculptural remains remain from that period, such as the episcopal chair of the Cathedral of Canosa, signed by Romoaldo and sculpted between 1078 and 1089, or the so-called Chair of Abbot Elia, in the Basilica of San Nicola in Bari, dating back to 1105 about. In the first, with the elephants that support the structure above, it was drawn to a Byzantine iconographic repertoire, while in the second, with the telamons expressively bent by the effort, one probably considered the experiences of Wiligelmo at the Duomo of Modena.
As for the bronze casting, we have the example of the doors of the Cathedral of Trani, built in 1119 by Barisano da Trani, divided into several scenes by whimsical frames and with zoomorphic knockers, inspired by previous Byzantines. The same typology was taken in the doors of the Ravello Cathedral and in those of the north side of the Cathedral of Monreale.
As for the ambos, it is certainly worth mentioning that of the cathedral of Bitonto. An important feature, besides the high quality of the manufacture, is the presence of a triangular slab, located on the parapet of the stairs, on which are depicted the Swabian emperors sculpted in bas-relief (from left to right Frederick I Barbarossa, Henry VI, Frederick II and son Corrado); furthermore, it bears the inscription situated under the little bed (HOC • OPVS • / FECIT • NICOLAVS • / SACERDOS • ET • MAGIS / TER • YEAR • MILLESIMO • / DVCENTISIMO • VICEIMO / NONO • ÎDICTIONIS • SECVNDE) from which it is possible to obtain the date of realization, 1229, as well as the name of the artificer: Nicolaus.
Mosaics
The art of mosaic in Puglia has been present in the cathedral of Bitonto since the eleventh century, where the griffin found in the early Christian church is reminiscent. Of the second half of the twelfth century are the paving of the Cathedral of Otranto, Brindisi, Taranto and Trani.
Particularly well preserved is the mosaic of Otranto, built between 1163 and 1165 by a group of artists headed by the monk Pantaleone, on commission of Archbishop Gionata. It unfolds along the central nave, the presbytery, the apse and the arms of the transept, and there is depicted the medieval imaginary, with richness of expression and a sense of horror vacui that is not affected by the irregularity of the tiles or the absence of plasticity.
Examples of Apulian Romanesque
Cathedral of San Cataldo in Taranto
Church of Santa Maria della Lizza in Alezio
Cathedral of the Assumption in Altamura
Church of Santa Maria Assunta in Andria
Basilica of San Nicola in Bari
Cathedral of San Sabino in Bari
Cathedral of Santa Maria Maggiore in Barletta
Church of the Assumption in Binetto
Church of Sant’Adoeno in Bisceglie
Church of Santa Margherita in Bisceglie
Cathedral of St. Peter the Apostle in Bisceglie
Basilica of San Michele Arcangelo in Bitetto
Cathedral of San Valentino in Bitonto
Church of Santa Maria del Casale in Brindisi
Church of San Benedetto in Brindisi
Church of the Holy Trinity in Brindisi
Church of Christ in Brindisi
Church of the Madonna dell’Alto in Campi Salentina
Cathedral of San Sabino in Canosa di Puglia
Abbey of Santa Maria a Cerrate
Cathedral of the Assumption in Conversano
Church of the Madonna della Neve in Copertino
Parish church of Santa Maria Assunta in Grumo Appula
Basilica of Santa Caterina d’Alessandria in Galatina
Church of San Pietro dei Samari in Gallipoli
Co-Cathedral of Santa Maria Assunta in Giovinazzo
Co-cathedral Basilica in Gravina in Puglia
Church of Saints Nicholas and Cataldo in Lecce
Basilica of Santa Maria Maggiore of Siponto near Manfredonia
Abbey of San Leonardo di Siponto near Manfredonia
Church of the Nativity in Maruggio
Cathedral of the Madonna della Bruna and Sant’Eustachio in Matera
Church of San Lorenzo outside the walls in Mesagne
Church of Santa Croce in Minervino di Lecce
Madonna della Greca Church in Locorotondo
Church of San Felice in Balsignano a Modugno
Cathedral of San Corrado in Molfetta
Tomb of Rotari and sanctuary of San Michele Arcangelo of Monte Sant’Angelo
Church of Santa Maria Assunta in Mottola
Abbey Church of Barsento in Noci
Collegiate Church of Santa Maria della Pace in Noicattaro
Cathedral of the Annunciation in Otranto
Church of San Giovanni Battista in Patù
Church of San Pietro Apostolo in Putignano
Collegiate of Santa Maria della Colonna and San Nicola in Rutigliano
Co-Cathedral of Santa Maria Assunta of Ruvo di Puglia
Church of San Giovanni Evangelista in San Cesario di Lecce
Church of Santo Stefano in Soleto
Church of Sant’Eufemia in Specchia
Church of Santa Maria d’Aurio in Surbo
Church of San Domenico Maggiore in Taranto
Monastery of Santa Maria della Giustizia in Taranto
Church of Santa Maria della Strada in Taurisano
Church of San Pietro in Crepacore in Torre Santa Susanna
Church of San Francesco in Trani
Church of Santa Maria di Giano in Trani
Monastery of Santa Maria di Colonna in Trani
Church of Ognissanti in Trani
Church of Sant’Antonio Abate in Trani
Church of Sant’Andrea in Trani
Church of San Giacomo in Trani
Cathedral of San Nicola Pellegrino in Trani
Concathedral of the Assumption in Troy
Church of Santa Maria del Casale in Ugento
Church of Ognissanti in Valenzano
Source from Wikipedia