Ugento

The story

Talking about Ugento means telling a story bordering on mythology. Traces of the past emerge in the excavations of modern-day Ugento, but many pieces are still missing to complete the picture of its origins. The megaliths found throughout the area tell of prehistoric settlements, while the coins preserved in the civic museum tell of a city-state that had its own mint and minted coins. During the time of the Messapians, Ugento was Ozan, a city powerful enough to rival Taranto. Ozan built its wealth on the sea; the first ports were built, and navigation and trade strengthened. Intense trade with Taranto brought the culture of Magna Graecia to Ugento. The statue of Zeus found on Ugento's territory, a source of pride for the city, dates back to this period.

When the Romans arrived in Salento, Ugento entered a period of decline. Uxentum, as it was now called, never fully embraced the culture of great Rome.

Ugento experienced the brutality of Turkish raids and looting, which destroyed the town. Those who barely managed to resist rebuilt themselves from the ruins of destroyed monuments and demolished walls, and built new homes with their remains.

Under the Normans, Ugento once again rose to prominence: a castle was built on the site of the Roman fort, intended to defend the city, and the people who had fled to nearby Gemini returned to the village, leading to an increase in population.

Ugento was able to reorganise its city life, it went through the Middle Ages, navigating between the various feudal lords: the D'Acquistos who burdened it with senseless taxes and the D'Amores who gave it luxury and pomp.

Today, Ugento's long biography is written along its streets and through its village. The city nobly displays and preserves what it has inherited from its troubled history.

The Cathedral

In 1880, Ugento was struck by the idea of ​​demolishing part of the town center to make way for what is now Piazza San Vincenzo. The square is dominated by the imposing Cathedral, built in the 18th century and a testament to the grandeur of one of the oldest episcopal sees in Southern Italy. The cathedral's façade is neoclassical in style, with columns that fit perfectly with the Hellenistic style, just as the bishop desired. Extensive renovations led to a period of darkness, due to the gray paint covering the entire interior. Today, thanks to recent renovations, the church is revealing its original splendor; entering through the side doors, you're struck by an explosion of color, the Baroque altars have resurfaced with vibrant authentic hues, and everything is once again shining with light and harmony.

The Castle

From its heights, the castle dominates the entire village and welcomes visitors arriving from the northwest. Its location is no coincidence: the Normans built it on the site of a Roman fort, because from that vantage point it was easy to control the arrival of new settlers. Ugento Castle was therefore built for defense, as is evident from its majestic appearance and the rigid lines left by time. The Marquises of Amore toned down the palace's austere features and softened it with ornate cornices and elegant decorations. The state rooms were enlarged, and with them, luxury became part of the palace, thanks in part to the mythological paintings.

Crypt of the Crucifix

Outside the town, on the road leading to Melissano, lies the Crypt of the Crucifix, which most likely dates back to the Messapian period. This is undoubtedly the most controversial site in Ugento's history, still intriguing and sparking scholarly debate. The vault of the hypogeum is entirely frescoed—nothing unusual so far, except that the frescoes depict esoteric images and symbols of a past of persecution, linked to the Roman era. Fantastical animals populate the vault of this crypt, along with flowers, fruits, six- and eight-pointed stars, and even red and black crossed shields, reminiscent of the Templars and the Knights Templar. Even today, the Crypt of the Crucifix remains a mystery to many, continually prompting scholars to formulate new hypotheses.

Museums

Every time excavations are carried out in Ugento, new finds are uncovered. The thousand-year history of this town speaks through the historical artifacts discovered over the centuries. The greatest collector of historical artefacts was Baron Adolfo Colosso, Ugento's most illustrious citizen, who, between the 19th and 20th centuries, amassed nearly eight hundred ancient artifacts found in the Ugento area. To these must be added other modern pieces. The Colosso Collection is one of the most important in Salento; today, the baronial palace houses the collection, and the "Adolfo Colosso" Museum has been established. The Civic Archaeological Museum of Ugento is located in the former convent of the Friars Minor Observant, one of the most important buildings in the historic center. The building itself tells its own story: it housed the friars until the mid-19th century, when it became state property and, consequently, the municipality. In the 1960s, Ugento felt the need to gather its finds in one place, and what better place than the convent? The Civic Museum houses important historical pieces, such as the ancient coins of Ugento, evidence of the mint of the time, and a copy of Zeus Stylites. Evidence of the city's spirituality is found in the diocesan museum, which houses gold chalices, ancient missals, papier-mâché statues, as well as canvases, ceramics, and fine fabrics. The atmosphere is dense with mystique and charged with meaning.

The Stylite Zeus

It's hard to imagine the faces of the master builders who, while digging new foundations, stumbled upon the statue of a Greek god. Who knows if they imagined they were standing before one of the most important discoveries in Ugento's history? For centuries, Zeus rested in a hole, protected by a boulder that was originally its capital. It's rare to find a bronze statue dating back to 500 BC that has survived in such excellent condition.

Zeus Stylites is a proud deity, advancing toward his people, a thunderbolt in one hand and an eagle in the other. His proud stance perfectly embodies the importance of this statue; this deity is the symbol of great Ugento, the splendor of a powerful and wealthy city that traded with Spartan Taranto.

The original statue of Zeus is preserved in the Taranto museum, and a perfect copy can be admired at the Civic Museum of Ugento.

The Shoals

The Ugento shoals extend for almost four kilometers and connect the marinas of Torre Mozza and Torre Pali. Over the centuries, they have caused numerous shipwrecks, including those of illustrious figures, such as Pirro, who, while rushing to the aid of Taranto, ran into the shoals that blocked his passage, or the shipwreck of the merchant ship Liesen, which still rests on the seabed today and has become a veritable tourist destination for divers.

Among the Ugentine shallows, the Cavallo, Giumenca, and Puledro rocks emerge from the water's surface. Unusual names intertwined with Turkish raids and a legend.

The Saracens, after having sacked Castrignano del Capo and other towns, were returning to the vessel, when on their way they met an old shepherd and his three horses; he was such easy prey that they hastened to capture him and lock him in the hold.

Their raids around Cape Leuca had netted them a rich booty, and in their euphoria, they began a celebration, drinking in the wine they had managed to steal. None of the Saracens gave up drinking, and they ended up getting drunk and then falling asleep, unaware of the approaching storm. When they awoke, they were all too busy trying to save themselves and certainly didn't care about the prisoner in the hold. The man seemed headed for certain death, when suddenly the chains snapped and the shepherd rushed onto the deck, clinging to the stern mast, and remained there all night while the ship drifted toward the shallows. None of the Turks managed to weather the storm; at dawn, the fishermen found the man still clinging to the mast and his three horses standing, each on a rock.

“Ugento, without faith or sacrament”

It was the early 1700s, and the Ugento cathedral had recently been completed but was slow to open for worship. The bishop, a gruff and surly man, had commissioned a bell for the new church. It was constructed of fine materials, which produced a sweet, melodious sound when touched.

Despite the bishop's persistent request for a ceremony to inaugurate the new church, for one reason or another it continued to be postponed, and the bell remained unused and increasingly filled with dust. Patience finally ran out, and the bishop decided to donate the bell to the church of Altamura, which had meanwhile been inaugurated. For Ugento, this was an intolerable affront; the people and clergy unitedly opposed the bishop and did not hesitate to insult and taunt him, prompting the prelate to abandon his episcopal see.

He got into the carriage, to go as far away as possible, and when he left the village, at the height of the sanctuary of the Madonna della Luce, he got out and dusted off his shoes to leave behind anything that was linked to that place, and full of resentment, he said:

“Ugento, without faith or sacrament.”

Adolfo Colosso

Adolfo Colosso remains one of Ugento's most beloved men and can certainly be considered its most illustrious citizen.

Born on August 11, 1854, in Ugento, after his early schooling, he was sent by his father to Lecce to complete his high school diploma in classical studies. He later decided to enroll at the Agricultural School in Portici. The years he spent in Campania were particularly fertile for his education; young Adolfo loved reading and studying.

After graduating in 1880, he returned to Ugento and began working in the family business. Within a few years, thanks to his studies, he was able to innovate the company by modifying crop rotation and introducing new agricultural machinery.

Adolfo Colosso was also an integral part of the city's public life. Beginning in 1889, he represented the Ugento district on the Provincial Council, subsequently managing to secure other positions thanks in part to the unwavering trust his constituents placed in him.

In 1901, his brother Massimo, who was then mayor of Ugento, passed away, and at the request of the City Council, Adolfo filled the vacant position.

Even as city administrator, Adolfo Colosso managed to complete important projects, solving problems and bringing numerous public services to Ugento.

Beyond all this, Adolfo Colosso is remembered in his hometown for his significant contribution as a collector of archaeological artifacts. His collection, which for years remained locked away within the walls of his family's baronial palace, was recently made available to the public thanks to the establishment of the Adolfo Colosso Museum.

On November 14, 1915, while on a family outing, he suffered a heart attack and died a few hours later, at the age of seventy-one.

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Ciciri and tria

One of the oldest recipes linked to the Salento gastronomic tradition. Already mentioned by the Latin poet Horace, who praised a soup made of chickpeas, leeks, and lasagna, this type of pasta spread throughout Salento under the name "Tria ," derived from the Arabic word "itriyah" (dry pasta).

A humble yet delicious dish, prepared year-round, its main ingredient is chickpeas. "Tria" pasta is made simply with semolina and water, flavored with a portion of the pasta fried in extra virgin olive oil (called "frizzuli").
If you don't have time to make homemade pasta, you can buy fresh tagliatelle or use dried pasta of a similar shape.

The ingredients:

300 g of dried chickpeas

1 teaspoon of baking soda

coarse salt (about two handfuls)

chili pepper or pepper
salt

1 onion

4 bay leaves

extra virgin olive oil

for the “Tria”:

500 g of flour (durum wheat semolina)

1 teaspoon salt

water to taste

Preparing the chickpeas

Take the dried chickpeas, pour them into a container, add a teaspoon of baking soda, a handful of coarse salt, a little water, and scrub them with your hands. Cover with plenty of water and let them soak overnight (at least 12 hours). The next morning, drain the water, rinse them, and pour the chickpeas into a pot, cover completely with fresh water, and begin cooking. In a small saucepan, keep it on the stove at all times, add a handful of coarse salt and the water you will use for cooking. When the chickpeas come to a boil, remove any foamy water and add the hot water from the saucepan. Add a chopped white onion and three bay leaves to the pot. Cook for about an hour, making sure to keep the chickpeas well covered with water at all times. Add more hot water if necessary.

Preparation of fresh “Tria” pasta.

Pour the flour onto a work surface, make a well in the center, and add water and a teaspoon of fine salt. Begin kneading. Add more water as needed; the dough should be soft and smooth. Knead the dough until it becomes elastic. Using circular motions, form a ball. This will give you a smooth, soft dough. Cover it with flour and let it rest for at least 1 hour. Begin rolling out the dough with a rolling pin. Roll out the dough into a circle, not too thin. Begin folding the dough over itself, dusting generously with flour before each step to prevent the layers from sticking together. Trim the ends of the dough to form a rectangle. Using a pastry cutter, cut fettuccine, a few millimeters wide. As soon as you're done, immediately unravel the pasta and dust it with flour. Place it on a work surface and let it dry for a couple of hours. Remember to set aside some pasta, perhaps the scraps and the smaller fettuccine, which will be fried later. The quantity is about a generous handful. Take the cooked chickpeas, remove the onion, and reserve a little of the cooking broth.

Preparation of fried pasta "frizzuli"

Pour extra virgin olive oil into a small saucepan and heat it with two chili peppers. Decide how much you want, depending on how spicy you like it. Add the reserved pasta to the oil along with a bay leaf.
Fry until golden brown, and the "frizzuli" are ready. Meanwhile, prepare a pot with water and salt. Turn on the stove and bring to a boil. Add the tagliatelle and cook for a few minutes. When they rise to the surface, remove from the heat. Discard the cooking water, leaving just a little at the bottom of the pot. Return the pan to the stove over low heat. Add the chickpeas and their cooking liquid and stir. Add the fried "frizzuli" pasta along with all the oil and mix well to flavor the pasta. If you didn't flavor the oil with chili pepper, you can sprinkle lightly with freshly ground pepper at this point. When the pasta starts to stick to the bottom of the pan, turn off the heat.
Plate and serve.

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