Co-Cathedral of the Assumption of Mary, Gravina di Puglia, Italy 

The Co-Cathedral of Santa Maria Assunta, located in Piazza Benedetto XIII, occupies a commanding position on the eastern edge of Gravina in Puglia, overlooking the city’s two oldest districts—Piaggio and Fondovico. Its strategic location reflects both its religious significance and its historical prominence within the urban landscape.

Origins and Early Episcopal Seats

The Diocese of Gravina, whose origins trace back to the 1st millennium of the Christian era, is definitively documented by the 9th century, establishing it as one of the most ancient dioceses in southern Italy. Throughout its early history, the episcopal seat transitioned through several notable churches before finding its permanent home at the current cathedral site. The first cathedral was the remarkable Church of San Michele delle Grotte, a distinctive structure hewn directly into the tuff rock, featuring an unusual layout of five naves. This was followed by the Church of San Marco, which became the second episcopal seat, and later by San Giovanni Battista, serving as the third. Each of these sacred sites played a pivotal role in the spiritual and communal life of Gravina, laying the foundations for the construction of the grand cathedral that stands today.

Foundation of the Current Cathedral (1065)

According to the Pastoral Visit of Monsignor Vincenzo Ferrero (1725–1730), documented in 1727, construction of the current cathedral began in 1065. This date is supported by historical documents and a now-faded inscription located on the upper portion of the church’s front façade, in the right lateral section. The cathedral was constructed under Norman rule, during the period when the city was under the control of Norman feudal lords. These rulers commissioned a Romanesque-style structure built adjacent to their castle. The layout followed a typical Romanesque plan—three naves, with the lateral aisles terminating in two square towers integrated into the nearby fortress. Its proportions were grand: the building’s length was twice its width, creating a sense of balanced monumentality.

Byzantine Influence and Architectural Connections

Inside, the cathedral was originally decorated with Byzantine-style frescoes, remnants of which were uncovered during restoration works in the 1960s. The primitive architectural elements of the cathedral share notable similarities with the Basilica of San Nicola in Bari, leading scholars to believe that the same group of artisans may have worked on both edifices—suggesting a shared architectural lineage and cultural exchange in Apulia during the High Middle Ages.

Destruction in the 15th Century

In the 15th century, the original cathedral of Gravina suffered near-total devastation as a result of two catastrophic events. The first was a devastating fire, believed to have occurred around 1447, which severely compromised the structure. This was followed by a massive earthquake on the night of December 5, 1456, one of the most destructive seismic events in the history of the Kingdom of Naples, which brought widespread ruin to the region. The combined impact of these disasters left the cathedral structurally unsound and entirely unfit for use. This period of destruction marked a turning point in the cathedral’s history, ultimately leading to the need for a complete reconstruction in the decades that followed.

Reconstruction and Consecration (1482–1632)

The reconstruction of the Cathedral of Gravina began in the late 15th century, following the devastating fire and earthquake that had nearly destroyed the original structure. Spearheading this monumental effort was Bishop Matteo D’Aquino (1482–1508), whose vision and dedication were instrumental in reviving the sacred site. His initiative was strongly supported by the people of Gravina, the Cathedral Chapter, and the influential Francesco II Orsini, Duke of Gravina. Over the following decades, successive bishops continued the restoration, carefully maintaining the cathedral’s Romanesque foundation while skillfully integrating emerging Renaissance architectural elements. This extensive effort reached its culmination on May 9, 1632, when Bishop Arcasio Ricci (1630–1636) solemnly consecrated the newly rebuilt cathedral. This historic moment is immortalized in a Latin inscription found on the central façade of the church, beneath the bishop’s coat of arms, which reads:

“ARCASIUS RICCI DE PISCIA EPUS GRAVINEN AN. II SUI PRAES. HANC CONSACRAVIT ECCLESIAM THE IX MAY MDCXXXII.”

This consecration marked not only the physical restoration of the cathedral but also the spiritual renewal of one of southern Italy’s most enduring places of worship.

Patronage and Baroque Enhancements           

Following its consecration, the cathedral continued to benefit from substantial patronage, especially from the Orsini family. Of particular note was Cardinal Fra Vincenzo Maria Orsini, the eldest son of the Orsini Dukes and future Pope Benedict XIII (pontificate: 1724–1730), who made significant contributions to its embellishment. Throughout the 17th and 18th centuries, the interior of the cathedral was enriched with Baroque elements, adding artistic dynamism while preserving the church’s historical layers. As a result, the cathedral as seen today is a harmonious blend of late Romanesque, Renaissance, and Baroque architectural styles.

National Recognition and Papal Distinction

In recognition of its artistic, historical, and spiritual value, the Italian State officially declared the cathedral an Italian national monument by Royal Decree No. 1746, issued on November 21, 1940. Decades later, on August 19, 1993, Pope John Paul II elevated the church to the prestigious rank of Minor Basilica, acknowledging its enduring importance as a center of Catholic worship and cultural heritage in southern Italy.