I believe that visit the churches of Ostuni, the ancient Byzantine-rite dioceses before the year one thousand, will serve to discover the inexhaustible riches of the town.
Let's start with what most of all is rich of years of history, art elements made in the course of several centuries: the cathedral. It is located a few hundred meters from the main square of Liberty and offered to hand to visitors who walk the path Cathedral. Through the arc of said Incalza dating, it seems, for the period 1228-29 and built by Frederick II of Swabia, which forms the archway through which you accessed the square of the Baglio and the Norman castle, you get to see the south side of sacred building from the late Gothic lines from the second half of the fifteenth century. The front of the church suffers from the excessive proximity of the old workshop that covers most area of the square partial shade and make the beautiful lines and embroidery front, so you have to approach the stone bridge to be able to admire the majesty and beauty. The current architectural lines refer to the years 1469-1495 when it was decided to enlarge the old Romanesque church, giving it a new set, probably due to damage of the earthquake of 1456 which is known to be devastating for the city was rebuilt Brindisi.La under the bishop of bishops Arpone, a native of Taranto and dependent on the last heir of the Del Dodge Orsini, Giannantonio, Prince of Taranto, before the latter, an opponent of Ferdinand of Aragon, died in 1463. The language of the Gothic cathedral is probably to be ascribed to the wishes of the bishop and representatives of the people who resorted to Taranto and local workers for the construction of the temple. It should be stressed that it was the Anjou in Naples, whose rulers were almost all Franciscan tertiary, to bring the influence of Gothic architecture in the south side of the Alps and the triumph of the new style, at least in the thirteenth and fourteenth centuries. In the features of the Gothic Cathedral of Ostuni you glimpse the last vestiges of the highest level made by local sculptors and stonemasons called to execute the project bravoarchitetto. However, we are in the fifteenth century and the Gothic style was largely set. The Cathedral of Ostuni, in fact, seems to merge the Lombard Gothic style with that of the Venetian school. We are the followers of the international Gothic style known as Gothic. The facade of the ancient temple has three parts by pilasters agile, with three splayed portals and bezel and a central rose window where you can see a myriad of symbols linked to medieval theology and cosmology Cristan. Below the concave and convex lines of the frame are the long line of small arches at the base with trefoil and animal motifs antropomorfi.Sul summit of the facade and to enclose the central area there are two niches that serve as elegant acroteria. It is striking for its scale, the sun rose, symbolizing the Christ, whose ring you can admire the apostles and the various stone embroidery dominated mainly by branches of the vines and stalks of corn, refer to the Eucharistic signs of the passion of Christ. Many sun symbols are found in arches that bind small columns between them. At one time the cathedral had four roses: that of the prospectus and the other two placed in the apse and the transept, which allow sunlight to enter the temple to illuminate the inside during daylight hours. Currently only the rosette are visible on the facade and located on the south transept. The corresponding to it, bricked, you can look along the road that leads from the port of Villanova in the city. The apse was destroyed in 1774.
Let's start with what most of all is rich of years of history, art elements made in the course of several centuries: the cathedral. It is located a few hundred meters from the main square of Liberty and offered to hand to visitors who walk the path Cathedral. Through the arc of said Incalza dating, it seems, for the period 1228-29 and built by Frederick II of Swabia, which forms the archway through which you accessed the square of the Baglio and the Norman castle, you get to see the south side of sacred building from the late Gothic lines from the second half of the fifteenth century. The front of the church suffers from the excessive proximity of the old workshop that covers most area of the square partial shade and make the beautiful lines and embroidery front, so you have to approach the stone bridge to be able to admire the majesty and beauty. The current architectural lines refer to the years 1469-1495 when it was decided to enlarge the old Romanesque church, giving it a new set, probably due to damage of the earthquake of 1456 which is known to be devastating for the city was rebuilt Brindisi.La under the bishop of bishops Arpone, a native of Taranto and dependent on the last heir of the Del Dodge Orsini, Giannantonio, Prince of Taranto, before the latter, an opponent of Ferdinand of Aragon, died in 1463. The language of the Gothic cathedral is probably to be ascribed to the wishes of the bishop and representatives of the people who resorted to Taranto and local workers for the construction of the temple. It should be stressed that it was the Anjou in Naples, whose rulers were almost all Franciscan tertiary, to bring the influence of Gothic architecture in the south side of the Alps and the triumph of the new style, at least in the thirteenth and fourteenth centuries. In the features of the Gothic Cathedral of Ostuni you glimpse the last vestiges of the highest level made by local sculptors and stonemasons called to execute the project bravoarchitetto. However, we are in the fifteenth century and the Gothic style was largely set. The Cathedral of Ostuni, in fact, seems to merge the Lombard Gothic style with that of the Venetian school. We are the followers of the international Gothic style known as Gothic. The facade of the ancient temple has three parts by pilasters agile, with three splayed portals and bezel and a central rose window where you can see a myriad of symbols linked to medieval theology and cosmology Cristan. Below the concave and convex lines of the frame are the long line of small arches at the base with trefoil and animal motifs antropomorfi.Sul summit of the facade and to enclose the central area there are two niches that serve as elegant acroteria. It is striking for its scale, the sun rose, symbolizing the Christ, whose ring you can admire the apostles and the various stone embroidery dominated mainly by branches of the vines and stalks of corn, refer to the Eucharistic signs of the passion of Christ. Many sun symbols are found in arches that bind small columns between them. At one time the cathedral had four roses: that of the prospectus and the other two placed in the apse and the transept, which allow sunlight to enter the temple to illuminate the inside during daylight hours. Currently only the rosette are visible on the facade and located on the south transept. The corresponding to it, bricked, you can look along the road that leads from the port of Villanova in the city. The apse was destroyed in 1774.
1) The Cathedral- 2) View from South
1) Fornice -1848- of access to Spennati square (back of the Cathedral) - 2) the bell tower
1) The facade - 2) Rose-window detail
