The story
The founding of Lecce is lost in the mysteries of time and is intertwined with an ancient legend that tells of its existence even before the Trojan War, about 1200 years before the birth of Christ.
The first traces of human settlement date back to the Iron Age, but it was with the arrival of the Messapians that Lecce took the form of a city-state and took the name of Lupiae .
The deep bond between Lupiae and Rudiae , a nearby city that was the birthplace of the Latin poet Quintus Ennius,
The Roman conquest of the territory brought economic prosperity to Lupiae and the beginning of a construction boom that would be its strong point in the years to come. Between the 1st and 2nd centuries BC, the amphitheater and Roman theater were built, and the city was connected to the port of San Cataldo by a road system, which helped boost maritime trade.
Lecce's power declined in the Middle Ages, as the city, having become a county, passed into the hands of various noble families and experienced the barbarity of Saracen raids, from which it attempted to defend itself only with the arrival of the Angevins. Charles V, in fact, strengthened the city walls built during the Messapian period and constructed the castle-fortress that bears his name. Above all, he brought an artistic revolution to Lecce that came to be known as the "Salento Renaissance." In this way, he ignited a cultural ferment that would strengthen during Spanish rule and accompany the city's growth until the present day.
The 17th century, a period of the Catholic Reformation and Counter-Reformation, was a pivotal moment in Lecce's history because it was the context in which the Baroque movement spread, leading to the construction of churches and noble palaces. Piazza del Duomo, Palazzo dei Celestini, and the Basilica of Santa Croce are just a few of Lecce's landmarks, their Baroque decorations astonishing for their opulence and elegance.
Lecce continued to grow during the unification of Italy and the Fascist era, while still maintaining the charm of a refined and lively city, thanks in part to its university, which made it a center of excellence for knowledge.
Porta Rudiae, Porta Napoli and Porta San Biagio
It's not hard to imagine Lecce in the past as a prosperous and lively city protected within its walls. The walls enclosed an area of fifty hectares, accessible through numerous gates dotted around the perimeter. Today, very little remains of this defensive structure: the three gates marking the entrance to the historic center and a portion of the wall that coincided with the northern entrance to the town remain, and thanks to recent restoration, they have returned to a renewed splendor.
Of the three gates still standing today, the oldest is Porta Rudiae, which overlooks Viale dell'Università and is a historic point of reference for citizens.
Porta Rudiae stands on the ruins of a medieval gate. It was built in 1703, at a time when there was no longer any need to defend against external threats, and for this reason it was possible to focus more on the aesthetic aspect, enriching the portal with Baroque decorations. The gate is dedicated to Saint Orontius, who stands atop the structure. Next to the statue of the saint are Saints Irene and Sebastian, minor patrons of the city. The busts on the sides are references to important figures in Messapian history: Queen Equippa, her husband Idomene, her brother Dauno, and finally Melennio, her father, who is credited with founding the city. His name is also linked to the underground road that, according to legend, leads from the gate to ancient Rudiae.
Not far from Porta Rudiae, Porta Napoli leads to the cobbled alleys of the historic center, its history intertwined with Turkish incursions and the Angevin presence in the city. Many see this gate as a Roman-style triumphal arch, due to its typical construction and the presence of military coats of arms carved into the façade, but this hypothesis remains unclear today.
Excavations near the gate have uncovered numerous tombs of Messapian origin, and there are likely many more buried. Legend has it that near Porta Napoli are also the remains of San Giusto, to whom the gate that previously stood at the same location was dedicated.
The last gate, Porta San Biagio, is distant from the other two and marks the end of the historic center at the end of what university students call "the street of pubs." This gate was rebuilt in 1774; its façade features Doric columns and decorations in Lecce stone, along with two civic coats of arms and a statue of Saint Orontius. There is no sign of Saint Blaise, to whom the gate is dedicated by order of the commissioner. Saint Blaise was an Armenian bishop, martyred around 316 for refusing to renounce the Catholic faith. Saint Blaise is known as the protector of the throat, and his cult is venerated in numerous Italian cities.
Obelisk
Not everyone knows the true history of the Lecce obelisk, which is often mistakenly dated to Roman times, but is actually much more recent than it might seem. It was created in 1822 by Vito Carluccio to commemorate the visit of King Ferdinand I of Bourbon to the city.
The Obelisk is a square column, embellished with bas-reliefs carved in Lecce stone on all its faces. Among the many symbols, the coat of arms of the Land of Otranto stands out: a dolphin biting a crescent moon, a reminder of the local population's fierce struggle against the Saracens. The column's engravings show some of Salento's most famous towns and their distances from Lecce; the longest inscription summarizes the visit of the King of the Two Sicilies.
Cathedral Square
Where Via Libertini meets the cobbled Via Palmieri, the Piazza del Duomo opens up: a triumph of Baroque style. This square was conceived as a courtyard and was once closed off in the evenings behind two imposing gates. The square houses the Lecce Cathedral, the bell tower, the Bishop's Palace, and the Seminary Palace.
The Duomo is the work of architect Giuseppe Zimbalo, a recurring figure in Lecce Baroque architecture. The cathedral was built on the ruins of older temples. Between 1659 and 1670, the building was destroyed because it was deemed not in line with the precepts imposed by the Council of Trent, and was rebuilt in the form we see today.
The façade that captivates visitors upon entering the square is actually the Cathedral's side façade, adorned with the statues of Saints Justus and Fortunatus and two columns flanking the portal and supporting a balustrade surmounted by a statue of Saint Orontius. Higher still is the coat of arms of Bishop Luigi Pappacoda, who commissioned the church. The bishop himself chose the four statues that adorn the main façade, which is much more sober than the side façade and is enhanced by a monumental bronze portal, constructed in 2000 by the artist Armando Marrocco to commemorate the Jubilee of that year. The interior is richly decorated with gold-colored ornamentation that lends a mystical light to the naves, and the Baroque altars, surmounted by a wooden canopy that runs the length of the central nave, are a highlight.
The bell tower is external to the church and located to its left, and is also the work of the architect Zimbalo. To the right of the Cathedral is the Bishop's Palace, characterized by a colonnade that gives it a sense of simplicity and grandeur. The Bishop's Palace was conceived as a luxurious residence, as it was intended to symbolize the church's temporal power.
The square is bordered by the Palazzo del Seminario, designed by architect Giuseppe Cino, who followed the guidelines of architect Zimbalo. The building has a unified façade, punctuated by pilasters and windows with a central balcony. Despite its austere beauty, it is enriched with small Baroque flourishes in the portal and beneath the balustrades. Worth seeing is the internal cloister, embellished with light touches of greenery from the lawn and the shrubs surrounding a Baroque-style well, known as the Vera Ovale, surmounted by a statue of Saint Irene.
Since 2004, the Seminary Palace has been home to the Diocesan Museum of Sacred Art. The artifacts housed within its walls tell the religious and artistic history of Lecce and its province.
Sant'Oronzo Square
Piazza Sant'Oronzo is the city's most famous square, reached by everyone through narrow streets and alleys, and from where everyone sets out in search of shops, restaurants, or monuments. It is the heart of Lecce's history and culture, rich in symbols and important sites. Sant'Oronzo stands at the center of the square, atop a column with a capital that is still disputed between Lecce and Brindisi. Popular tradition holds that the column and its capital were built by the people of Brindisi, starting from one of the two columns that once bordered the Appian Way near their city. The columns had been attributed to Hercules, and the new, remodeled structure was dedicated to the mythical hero. The Viceroy, however, disapproved of the gesture, deeming it inappropriate, and ordered the column and capital to be moved to Lecce. He also had a plaque affixed implying that Brindisi donated the structure to the people of Lecce. But this was never the case, and this gave rise to a jovial rivalry between the two cities that has continued to this day.
Saint Oronzo became the patron saint of Lecce after saving the city from the plague. The statue, now located in the square dedicated to him, dates back to the 18th century and replaced an older one, which was destroyed by a nearby firework. The statue was crafted by a Venetian master and is made of wood and covered in copper. Popular belief holds that the saint's three outstretched fingers represent the "just," meaning foolish, namely monks, priests, and those who do not have children. Others maintain that it refers to the city's three patron saints: Saint Oronzo, Saint Giusto, and Saint Fortunato. Certainly, and much more simply, the saint was depicted in the act of blessing the city.
The Venetian presence in Lecce is also evident in the small church of San Marco and the symbol of the Venetian city adorning its façade. Today, the church is the headquarters of the War Veterans Association. Next to this small building is the Palazzo del Sedile, which once housed the town hall. Today, its steps are a popular spot for refreshments, a chat, or an ice cream, but from these same seats, one could once witness the torture of condemned prisoners. Where the medieval wheel once stood, today stands the mosaic of the She-Wolf, the symbol of Lecce. Superstitious students avoid stepping on it because it is said to cause setbacks and delay their graduation.
Behind the square is the Roman amphitheatre.
Roman amphitheater.
A mixture of fear and curiosity must have fueled the workers who worked on the foundations of the Bank of Italy branch. It was the late 19th century, and the circular shape of the buildings behind Piazza Sant'Oronzo suggested a buried cavity, but no one had ever dared to delve beyond these assumptions. The work that brought the Roman amphitheater to light, to everyone's amazement, began out of curiosity and almost as a gamble. Above all, it was a revenge for the architects and master builders against those who had mocked them and against the local newspapers that had made the city laugh with their biting satire.
The amphitheater we see today is only a portion of the original; the remainder will forever remain buried beneath the Church of the Grazie and the ancient artisan workshops.
An inscription on the walls bears the name of Trajan, which has dated the amphitheater's construction to the imperial era, between the 1st and 2nd centuries BC, but it is very likely even older. In its entirety, it must have been large enough to accommodate several thousand people, a testament to Lecce's importance in Roman times.
On the walls, you can still see depictions of animals such as bears, deer, lions, and bulls, which were hunted inside the arena. Exotic animal hunts were one of the spectacles that could be seen in the amphitheater. They took place in the morning, followed by executions or fights between condemned prisoners at midday, and concluded in the afternoon with gladiatorial combat. Today, the Roman amphitheater has abandoned this bloody garb and is chosen, especially in the summer, for theatrical performances and small classical concerts, while in the winter, for years, it has been the setting for the traditional Christmas nativity scene.
Sozi Carafa Palace
Slightly off the beaten path from Piazza Sant'Oronzo, Palazzo Carafa can be found when arriving from Via Libertini.
This palace was commissioned by Bishop Alfonso Sozi Carafa. It was built in 1542 to house the Paolotte nuns, later demolished by them and rebuilt at the bishop's request. By the time it was built, however, Baroque had become an outdated style, and the architect who designed it succumbed to the charm of Rococo, which is reflected in the soft curves of the cornices. Palazzo Carafa features a style of alternating pilasters and bays, with windows. The Carafa family coat of arms appears on the façade.
In the post-unification period, the municipality purchased the Palace, which thus lost its religious function and became the seat of the Town Hall.
Roman Theatre
The Roman theater is located in the heart of the historic center, nestled among narrow streets and hidden by 17th-century buildings. It was 1929, and while excavating the foundations of a house, they were astonished to stumble upon something solid, already carved into the rock. It was the cavea , the Latin name for today's seating, and it also marked the beginning of the discovery of a Roman theater built during the reign of Augustus. The excavations also uncovered several statues from a later period, which once decorated the theater and are now housed in the Sigismondo Castromediano Museum.
Only a small portion of the theater has been excavated, but it is thought to have held several thousand spectators. Unlike the amphitheater, the theater was a place of culture: comedies and tragedies were performed here.
Theaters of Lecce
Via Trinchese connects Piazza Sant'Oronzo to Piazza Mazzini, now Piazza Trecentomila. It's home to major shops and renowned brands, but it's also home to the majestic Teatro Apollo. It's the youngest of Lecce's theaters, but it's also the one with the most turbulent history. Built in the early 20th century to accommodate a larger audience, it's an imposing theater, with a colonnade supporting a neoclassical architrave. Despite its appearance and magnificence, the curtain fell on the stage of its last performance in 1986. These were sad years, during which the theater succumbed to the brutality of time and fell into decay, until renovations began, which lasted for years. Only in February 2017 was the theater returned to its beloved Lecce, adorned with a new hue. For the grand inauguration, President Sergio Mattarella and Minister of Cultural Heritage Dario Franceschini arrived in the baroque city.
The oldest of Lecce's three theaters is the Teatro Paesiello, a seventeenth-century gem built with a distinct Neapolitan style. Unfortunately, beauty isn't always enough; in fact, by the 19th century, audiences began to resent the theater's small size, making it unsuitable for prose performances only. Responding to popular dissatisfaction, Donato Greco decided to build a larger theater that could also host symphonic operas and other important works. With this in mind, the Teatro Politeama Greco was built. It remains in the family's ownership today and, since its inauguration in 1884, has annually featured prestigious performances, ranging from prose to opera. Over the years, this theater has been led by important artistic directors, including Katia Ricciarelli and tenor Tito Schipa.
Charles V Castle
To counter the Saracen raids, Charles V strengthened Lecce's defensive structure, which consisted mostly of a city wall, and, on the same spot where a Norman tower once stood, he built a fortress castle that still bears his name today.
The castle is devoid of decorative flourishes and features a typically military architectural layout. On the lower level, a portal leads to the main hall, adorned with Doric columns and capitals, which also leads to the garden. The upper level features large atriums illuminated by stained-glass windows; the main hall has been recently restored.
The castle's spartan layout remains today only aesthetically pleasing; over the years, its rooms have hosted important cultural and artistic events.
Basilica of Santa Croce
Heading towards Via dei Templari, you reach the Giudecca neighborhood. Traces of what was once the center of Jewish life in Lecce are hidden within the walls of Palazzo Personè, as well as in the narrow streets behind it. Over the years, Jews managed to acquire a privileged social position and thus began to be frowned upon by the population, who, finding support in the royal power, first ghettoized them and then expelled them from the city. This context includes the expropriation of land from Jewish families for the construction of the Basilica of Santa Croce. This church, with its façade, has become the most famous symbol of Lecce Baroque, and walking past it, it's not uncommon to find people looking up at the decorations, searching for the stylized faces of the four patrons.
The first stone for the Basilica was laid in 1353 at the behest of Count Walter VI de Brienne of Lecce. However, work was abruptly halted upon his death and resumed only in 1549 thanks to the persistence of local craftsmen. These workers, however, received much criticism and little acclaim once the façade was completed, as the people deemed the mixture of pagan and Christian symbols inappropriate. Despite this, the pomegranate, a symbol of fertility, has coexisted peacefully for centuries alongside angels, just as pelicans and flames coexist beautifully alongside statues of popes and saints, in a combination of symbols that has led to the church's success over time.
The central rose window, decorated with circles and acanthus leaves, captures the viewer's gaze and distracts them from the other highlights of the façade, such as the statues of Celestine V and Saint Benedict and the two female figures symbolizing Faith and Charity. A balustrade divides the façade in two and is supported by men and beasts. The former are thought to represent Turkish prisoners captured by the Venetians during the Battle of Lepanto, while the latter symbolize the Christian allies.
The interior is much simpler and more bare than the façade. The central nave is covered by a walnut coffered ceiling, and the Latin cross perimeter is embellished with twelve Baroque altars. The high altar is framed by a portal, and at the top is the coat of arms of the Adorni family, many of whose members were buried within these walls.
Former Celestine Convent
The Baroque Mannerism of the Basilica of Santa Croce continues uninterruptedly toward what was once the Celestine Convent. For centuries, the palace was one of the most important centers of knowledge, thanks to the work of the copyist monks who, within these walls, created important miniatures and codices, now housed in the Sigismondo Castromediano Museum.
The monks' activity continued uninterrupted until 1807, when all monastic orders were expelled from the city. Stripped of its original functions, the palace became the seat of the institutions of the Terra d'Otranto and later of the Province of Lecce.
Sigismondo Castromediano Square
Nestled between Piazza Sant'Oronzo and the Basilica of Santa Croce is Piazzetta Castromediano, a passageway that few stop to admire. This small square is a symbol of Lecce's grandeur during the Roman era. As with the amphitheater and the Roman theater, urban redevelopment excavations were carried out here, leading to the discovery of important Iron Age artifacts and an underground oil mill dating back to the 1st century BC.
The Salento region is rich in underground chambers and oil presses. These structures speak to a time when the production and trade of lampante oil was the true driving force of the economy. The underground chambers were dug into the friable rock and were therefore inexpensive, and the temperatures in these presses were ideal for pressing the olives.
Church of the Rosary or of San Giovanni
The last work designed by architect Zimbalo is the Church of the Rosary, also known as the Church of San Giovanni Battista. Its façade appears immediately after passing through Porta Rudiae, and its baroque style astonishes and captivates from the first moment.
The façade is divided into two sections by a balustrade. The upper section features trophies overflowing with flowers and fruit, along with statues symbolizing the visions of the prophet Ezekiel. The lower section features a portal framed by two columns, surmounted by the Dominican coat of arms and a statue of Saint Dominic de Guzmán. To the side are two niches with statues of Saint John the Baptist and Blessed Francis of the Order of Preachers.
If the façade is Baroque, the interior is even more so, clearly demonstrating the intent to dazzle and amaze the faithful, as required by the precepts of the Catholic Counter-Reformation. The church has a Greek cross layout, surrounded by numerous altars, and statues of saints carved from Lecce stone are scattered throughout. The pulpit, carved with scenes from the Apocalypse, is particularly noteworthy; it is the only one in Lecce carved from stone. The church's design also included a dome, which was never completed because the architect Giuseppe Zimbalo passed away during construction. He asked to be buried in the Church of the Rosary, and his remains are still found there today.
Former Conservatory of Sant'Anna
Via Libertini is lined with important historic buildings that convey the essence of Lecce's Baroque style. Among the restaurants and shops on this street are, among others, the Academy of Fine Arts, the Church of the Rosary, and the former Conservatory of Sant'Anna. This latter institution was founded by noblewoman Teresa Paladini, who wanted to provide the city with a retreat suitable for upper-middle-class girls with a religious vocation and devoted to a quasi-monastic life. It was established in the 17th century, and is the work of architect Giuseppe Zimbalo. In 1679, the Conservatory of Sant'Anna moved to Palazzo Verardi, where it remains today. A few years later, at the behest of Bishop Alfonso Sozi Carafa, the palace was expanded and its façade was graced with an elegant staircase leading to the entrance portal, framed by refined motifs and surmounted by the coats of arms of the Paladini and Verardi families.
Few people know that walking along the little road next to the Church of the Rosary you can admire the garden of the former Conservatory, where there is a centuries-old Ficus tree whose thick foliage embraces the entire façade of the building.
Today, the Sant'Anna Conservatory continues to be a center of culture and art and frequently hosts important exhibitions and events.
Monumental Cemetery of Lecce and Church of San Niccolò and Cataldo
"In memory of humankind," reads the inscription on the architrave of the entrance to Lecce's monumental cemetery. A neoclassical portal leads to the long cypress-lined avenue, a place conducive to meditation and silence. A small gate leads to the "funeral garden" with its network of paths and alleys, where ancient tombs appear huddled together, creating a contrasting sense of disorder and perfection. Amidst the oleanders and eucalyptus trees are neo-Gothic tombs, stained-glass windows, as well as spires and rose windows expertly carved from Lecce stone. Among the notable names buried in Lecce's monumental cemetery are the tenor Tito Schipa and the poet Vittorio Bodini.
Next to the gate leading to the funeral garden is the church of San Niccolò and Cataldo: one of the most beautiful and oldest in Lecce. The church dates back to 1180, commissioned by Tancredi, Count of Lecce, and was later remodeled in a Baroque style. The façade is a blend of medieval styles, reflected in the portal and rose window, alternating with Baroque statues and decorations. The interior is simple and refined, filled with pastel-colored paintings. There are late Gothic frescoes depicting the life of Saint Nicholas, as well as other paintings depicting saints such as Saint Benedict and Saint Francesca Romana. The figurative holy water stoups and the statue of Saint Nicholas are the work of Gabriele Riccardi, who was also entrusted with the construction of the convent's first cloister, located outside the church. Only later was the second cloister built, at the center of which is a Renaissance fountain with twisted columns supporting a shrine. The adjacent convent was first home to the Benedictine order and later to the Olivetan order. For several years, it has been home to the Cultural Heritage Department of the University of Salento.
The construction of the church of San Niccolò and Cataldo was commissioned by Tancred of Hauteville, who, while crossing the Strait of Otranto, found himself caught in a storm. Not knowing what to do, he prayed to heaven and soon after managed to reach the port of San Cataldo.
Church of St. Irene
The façade of the church dedicated to Saint Irene is surmounted by the Latin inscription "Irene virgini et martiri." The building's majesty speaks volumes about the profound devotion the people of Lecce had for the saint, the city's patron saint until 1656.
The statue of Saint Irene sits atop the façade, and the civic coat of arms is located a little lower. The façade features empty niches on the sides and is divided into two different artistic styles.
The interior is much more sober than the exterior and features three chapels on each side, connected to each other and illuminated by daylight. The central altar was remodeled in the second half of the 18th century, and above it hangs the precious canvas "The Transport of the Ark," a masterful work by the artist Oronzo Tiso. To the side is one of the most majestic altars in Lecce, dedicated to Saint Cajetan, decorated with a central canvas depicting the founder of the Theatine order.
Among the altars and the walls of the sacristy are countless prestigious works kept in this church.
Sigismondo Castromediano Museum
Sigismondo Castromediano was a noble patriot who fully experienced the Italian Risorgimento. As a young man, he joined Giuseppe Mazzini's "Young Italy" movement, which led to his being accused of "conspiring against the Bourbon monarchy," imprisoned, and subsequently sentenced to exile.
Upon his return to Italy, he was elected to the first Italian Parliament, the Chamber of Deputies. After his term ended, he returned to his native land and dedicated himself to serving the people, becoming a provincial councilor. He dedicated the last years of his life to his city: Lecce, to which he donated several volumes for the provincial library and established the museum that bears his name.
Today, the Sigismondo Castromediano Museum is located in the former Collegio Argento, founded by the Jesuits. Its walls house an important collection of historical artifacts spanning millennia, from prehistory to the Messapian civilization, through the Roman conquest and the Middle Ages. Its sections include an art gallery containing paintings from the 1400s to the 18th century, a library, and an area dedicated to temporary exhibitions, showcasing works by prominent artists from the Salento scene.
