Introduction
The Trani Cathedral, officially known as the Cathedral Basilica of Maria Santissima Assunta, and commonly referred to as San Nicola Pellegrino, serves as the principal Catholic place of worship in the city of Trani, located in the Puglia region. This cathedral is not only the mother church of the Archdiocese of Trani-Barletta-Bisceglie but has also been designated a minor basilica since 1960. It holds the status of an Italian national monument.
Renowned as one of the most important examples of Romanesque architecture in Puglia, the cathedral is often referred to as “the Queen of the Cathedrals of Puglia” due to its impressive design and cultural significance. It is a popular destination for cultural tourism, attracting visitors from around the world.
The cathedral’s construction is closely tied to the events surrounding San Nicola Pellegrino, dating back to the Norman period of domination. Built from Trani stone, a local building material extracted from the city’s quarries, the cathedral showcases a unique light pink, almost white, hue. This stone belongs to the calcarenite sedimentary rock family, typical of the region.
What makes the cathedral stand out from other Romanesque structures in Puglia is its strategic location near the sea, providing an unobstructed view of its impressive exterior from all directions. The cathedral is distinguished by its grand transept, crowned with an elaborate cornice, and by the use of pointed arches in the passage beneath the bell tower—an unusual feature in Romanesque architecture. Additionally, the cathedral is remarkable for having four distinct places of worship within its walls, each with its own architectural identity and purpose.
The history of the Trani Cathedral is deeply intertwined with the story of San Nicola Pellegrino, who arrived in Trani on the eve of his death. Following his arrival, several miracles were reported, leading to his canonization by the initiative of the Archbishop of Byzantium and with the authorization of Pope Urban II. The church was constructed beginning in 1099, built over the foundations of an older church dedicated to Santa Maria della Scala, which dated back to the 4th century. Recent archaeological excavations have revealed that the area where the cathedral now stands was once home to a religious building dating as far back as the 4th century.
The church of Santa Maria was built later, and within it, a chapel was established to house the relics of San Leucio, which had been stolen from Brindisi in the 8th century. When the new cathedral was constructed, it was intended to house the relics of San Nicola Pellegrino, who had died in Trani in 1094. The cathedral was consecrated in 1143, even before it was fully completed, shortly after the relics of the saint were placed in the crypt beneath the transept of the church.
The significant phase of construction took place between 1159 and 1186 under the leadership of Bishop Bertrando II. By around 1200, the cathedral was considered complete, although the bell tower was not finished until the 14th century. The building stands as a lasting testament to the religious and architectural history of Trani, with its construction spanning centuries and reflecting the city’s rich heritage.
Architecture of Cathedral Basilica of the Most Holy Assumption of Mary, Trani, Italy
Architectural Style: Romanesque architecture
External
The building holds significant urban planning importance, standing in a relatively isolated position compared to the surrounding structures, and is strategically located near the coast. This placement creates a clear landmark for both those observing it from within the city and from the sea. The cathedral is accessed via a double flight of stairs, leading up to the portal, as the ground floor is elevated approximately 5 meters above the current street level.
From the perspective of the medieval fort, the church’s urban situation is striking. The archivolt of the main portal features a relief of a man bitten by a bird, a decoration from the last quarter of the 12th century in stone.
A side rose window further enhances the building’s exterior, adding to its grandeur. The double ramp stairs lead to a gallery in front of the façade, where a Romanesque portal with intricate decoration resides. The style of the portal reflects clear Arab architectural influences. The central bronze door, crafted by Barisano da Trani in 1175, remains one of the most remarkable examples of its kind in Southern Italy. The original door is now displayed inside the cathedral, with a faithful replica placed outside in 2012.
On the western front, in addition to the entrance portal, there are three large windows and a grand rose window. The harmonious arrangement of these openings provides the façade with an elegant plasticity, while the window decorations feature complex and refined interwoven compositions of plant and animal motifs. The church follows a typical three-nave basilica plan, and the raised entrance suggests the presence of an important crypt, which visitors can explore. Inside, it becomes apparent that the cathedral is actually a double church.
The rear of the building is marked by a massive transept facing the sea, adorned with three apses, which stands out as one of the church’s most unique features. This part is also decorated with blind arches in the Romanesque style. Above the arches, the side facades are embellished: to the south, two mullioned windows and a rose window, and to the north, two mullioned windows and a four-light window.
The elegant bell tower, positioned next to the façade, was built later, between 1230 and 1239. However, its completion, particularly the upper floors, occurred shortly after the mid-14th century under Bishop Giacomo Tura Scottini. The tower’s design is quintessentially Romanesque, with a gradual lightening of mass as it rises, achieved through progressively larger openings. Starting with a double lancet window at the base, the tower transitions to triple lancet windows higher up.
Underneath the bell tower, a large pointed arch creates an unusual architectural effect. This arch significantly reduces the mass of the base supporting the tower, allowing for easier circulation in the square in front of the cathedral. The decision to incorporate this passage was a daring architectural move for its time. The bell tower, which rises to a height of 59 meters, eventually became unstable. In the 1950s, it underwent a restoration by Damiano Longo, where all the stone blocks were carefully dismantled, numbered, and reassembled as part of a large-scale anastylosis project.
Internal
The matroneum of the central nave in the upper church features a wooden truss roof, dating from the late 11th to mid-12th century, showcasing the historical craftsmanship of the period.
The main body of the cathedral is divided into three naves, created by twin columns that support the matronea. The two side naves are covered by cross vaults, while the central nave boasts exposed wooden trusses, creating a striking contrast in design.
The rear portion of the church, the transept, forms a unified space despite the three apses that echo the tripartite layout of the main body. It is notable for its impressive truss roof, similar to that of the central nave, which adds to the cathedral’s architectural grandeur.
The cathedral’s interior, once more lavish than it appears today, retains a sober and almost unadorned character due to continuous alterations over time. These changes, including restoration efforts in the 19th and early 20th centuries, have shaped its current appearance. Notably, during the restorations between 1939 and 1942, led by Alfredo Barbacci, medieval elements were preserved while later additions were removed wherever possible. For instance, the painted wooden ceiling of the transept and main nave was removed to reveal the original wooden trusses.
Despite the numerous modifications over the centuries, the lower portion of the church maintains much of its original character. The lower section, divided into two areas—the Crypt of San Nicola, which houses the saint’s relics, and the Crypt of Santa Maria, a remnant of earlier construction—retains its Romanesque elegance. Visitors can access the hypogeum of San Leucio via a small staircase. This area, located below sea level, features frescoes, though they are now in poor condition.
The mosaic flooring, inspired by the famous mosaic in the Cathedral of Otranto created by Pantaleone, has only fragments remaining, primarily in the presbytery. Within these remnants, one can still make out symbolic images, including the allegory of Alexander the Great’s flight and the biblical depiction of Adam and Eve’s original sin, shown beside the Tree of the Knowledge of Good and Evil.
Pipe Organ
The pipe organ of the Cathedral Basilica is positioned in the right arm of the transept, near the back wall. It was constructed between 2013 and 2014 by Francesco Zanin, who reused the sound material from the previous organ built by the Ruffatti Brothers in 1962. The earlier organ featured electric transmission and 48 registers, many of which were created through extension and derivation. The console, a standalone piece of furniture located near the organ body, had three keyboards with 61 notes each and a concave-radial pedalboard of 32 notes. The sound material was housed inside a modern wooden case, designed to follow the shape of the facade pipes.
The current organ, which has 46 registers, is placed in a new asymmetrical case. It features two consoles: one is a window, with electronically assisted mechanical transmission for the registers, and the other, the adapted console from the previous instrument, is independently mobile with electronic transmission to the organ body. Both consoles include three keyboards, each with 58 notes, and a concave-radial pedalboard with 30 notes.
Feast Day
Feast Day : 15th August
The feast day of the Basilica Cattedrale di Santa Maria Assunta in Trani, Italy, is celebrated on August 15th. This date marks the Assumption of the Blessed Virgin Mary, the patroness of the cathedral, which is dedicated to the Assumption of Mary into heaven. This feast is a significant religious event for the faithful and the community of Trani, with various liturgical celebrations and activities held in honor of the Virgin Mary’s Assumption.
Church Mass Timing
Lower Church of San Nicola il Pellegrino: 11.30 am (ONLY ON SUNDAYS AND HOLIDAYS)
Church Opening Time:
Monday : 9:00 am – 12:30 pm, 3:30 pm – 6:00 pm
Tuesday : 9:00 am – 12:30 pm, 3:30 pm – 6:00 pm
Wednesday : 9:00 am – 12:30 pm, 3:30 pm – 6:00 pm
Thursday : 9:00 am – 12:30 pm, 3:30 pm – 6:00 pm
Friday : 9:00 am – 12:30 pm, 3:30 pm – 6:00 pm
Saturday : 9:00 am – 12:30 pm, 3:30 pm – 6:00 pm
Sunday : 9:00 am – 12:30 pm, 4:00 pm – 6:30 pm
Contact Info
Address :
Piazza Duomo, 1, 76125 Trani BT, Italy.
Phone : +390883500293
Accommodations
Connectivities
Airway
Karol Wojtyła Airport to Cathedral Basilica of the Most Holy Assumption of Mary, Trani, Italy distance between 33 min (39.5 km) via SS16.
Railway
Trani Railway Station to Cathedral Basilica of the Most Holy Assumption of Mary, Trani, Italy distance between 6 min (1.4 km) via Via Ognissanti.
