Introduction
The Basilica of Santa Maria Maggiore (Italian: Concattedrale di Santa Maria Maggiore), located in the historic center of Barletta, Apulia, southern Italy, serves as a key religious landmark for the city. Originally built in the 12th century, the basilica was constructed on the site of an earlier early Christian church. Over the centuries, it has undergone significant architectural changes, notably in the 14th century, resulting in a distinctive blend of Romanesque and Gothic styles. Historically, the basilica was an illustrious collegiate church, an important center of religious life in Barletta. It claimed exemptions and autonomy from other jurisdictions and, in 1860, was elevated to the status of a cathedral in the Archdiocese of Barletta by Pope Pius IX, with the papal bull Imperscrutabili Dei. In 1961, the church was granted the title of minor basilica, a recognition of its importance, and, since 1986, it has served as the co-cathedral of the Archdiocese of Trani-Barletta-Bisceglie.
The basilica is an Italian national monument and continues to be an active place of worship, where services are officiated by the canons of the chapter of Santa Maria Maggiore. The building is a product of various architectural layers that reflect its long history, from its early Christian origins to its medieval and Renaissance transformations. Its layout showcases a centripetal urban design, with the basilica at the center of Barletta’s religious and cultural life. Today, the Duomo di Barletta stands as both a spiritual and architectural cornerstone of the city.
The Basilica of Santa Maria Maggiore has a rich history marked by continuous evolution, built upon various layers of previous places of worship spanning several centuries. The church’s history is a testament to the changing architectural and religious styles, reflecting the city’s transformation over time. Below is a detailed account of the key historical phases of the basilica:
Pre-Christian Era: The Site of Ancient Tombs (4th-3rd Century BC)
The area where the Basilica of Santa Maria Maggiore now stands was once the site of pre-Christian cave tombs. These tombs, discovered during archaeological excavations between 1955 and 1996, date back to the late 4th century BC to the early 3rd century BC. Located about five meters below sea level, these grotticella tombs contain human skeletons and burial artifacts. Although initially thought to be the remains of a pagan temple dedicated to Neptune, these findings reveal evidence of a settlement from the pre-Christian era, possibly linked to the ancient Bardei people.
Early Christian Period: The First Basilica (6th Century AD)
In the 6th century, an early Christian basilica was constructed on the site of the pre-Christian tombs. The basilica, one of the largest of its kind in the northern Bari region, had a three-nave layout with a single central apse facing east. The structure was located five meters beneath the current floor level of the modern cathedral. The church was likely built during the episcopacy of San Sabino of Canosa, as evidenced by his monogram on bricks used in the basilica’s construction. The early Christian church was adorned with mosaic floors featuring geometric patterns, many of which remain intact. This basilica continued in use throughout the 7th century before being abandoned in the 8th century.
Early Medieval Period: The New Church of Santa Maria (9th-11th Century)
After the destruction of Canosa in 862 AD by Saracen invaders, many clerics from Canosa sought refuge in Barletta, leading to the construction of a new church on the site of the earlier early Christian basilica. This early medieval basilica, known as Santa Maria de Auxilio, was smaller in scale than its predecessor, with a Latin cross plan and supported by ten pillars. It was during this time that Barletta came under the jurisdiction of the Diocese of Trani, as confirmed by papal bulls from the 9th to the 11th centuries, including documents from Pope Callistus II (1120), Antipope Anacletus II (1130), and Pope Eugene III (1150).
The Romanesque Church: Norman Reconstruction (12th-13th Century)
In the 12th century, the construction of a Romanesque basilica was initiated under the Norman rulers. This church, built between 1147 and 1153, was much larger than the early medieval church and was divided into three naves, supported by granite columns and pillars. According to local tradition, the left portal of the façade may have been commissioned by Richard the Lionheart, though this is historically unverified. The church’s main construction features include a transept with a quadrilobate design and semicircular apses, following the model of other Romanesque Apulian churches. The bell tower, a significant feature of the church, was erected at the end of the 12th century, standing at 43 meters high. Additionally, the capitals of the ciborium (a structure that held the altar) were intricately sculpted by artists of oriental origin, highlighting Barletta’s connections to the Crusader states. The church was consecrated in 1267 by Bishop Randolfo, marking the completion of this Romanesque phase.
The Gothic Expansion: Adding the Apses and Choir (14th Century)
The church underwent a significant expansion in the 14th century, driven by Giovanni Pipino da Barletta, a close advisor to Charles I of Anjou. Under his patronage, the church was extended eastward, with the addition of a new Gothic apse and choir. This renovation was designed by the court architect Pierre d’Angicourt, following the Gothic architectural style popular in the Angevin court. In 1307, Pipino secured a papal bull from Pope Clement V granting indulgences to those who visited the church, further encouraging the church’s growth. By the mid-14th century, the church had begun to develop its ambulatory and radial chapels, with the Gothic structure replacing parts of the earlier Romanesque apse. However, it was not until the 16th century that the church’s construction was fully completed. During this period, the Gothic apse was connected to the earlier Romanesque structure through the addition of two new bays, cleverly merging the two architectural styles.
Later Developments and Final Completion (16th Century)
By the 16th century, the final stage of expansion was completed, and the basilica became the grand structure it is today. The Romanesque apses were demolished, and the building was unified into a cohesive whole, blending Gothic and Romanesque elements seamlessly. The cathedral’s final form also incorporated the radial chapels and a clerestory with large windows, which provided the church with ample light. By this time, the church had become a center of both spiritual and civic life, reflecting the city’s importance in the region.
Architecture of Co-Cathedral Basilica of St. Mary Major, Barletta, Italy
Architectural Style : Romanesque architecture
The Cathedral of Santa Maria Maggiore stands as a remarkable example of Barletta’s rich architectural and artistic heritage. Located strategically at the border of the ancient village of Santa Maria and the nearby castle, the cathedral has been a center of faith and worship for centuries. The church is oriented from east to west, with the Gothic ambulatory facing east towards the castle and Palazzo Santacroce, and the main entrance positioned towards Via Duomo.
The Interior of the Cathedral
The Cathedral of Santa Maria Maggiore boasts a captivating interior that blends various architectural styles and artworks spanning multiple centuries. Upon entering, the first four bays of the church, designed in Romanesque style, provide a glimpse into the church’s early architectural heritage. The first bay on the right features a large nineteenth-century tombstone with a half-bust of Pope Pius IX, commemorating the church’s elevation to an archiepiscopal cathedral in 1860. In the second bay, a canvas by Giaquinto titled “Addolorata” can be found, while the third bay houses a baroque altar with the “Presentation of Mary in the Temple” painting. The fourth bay is home to a rococo chapel dedicated to the “Transit of Saint Joseph”, with a marble altar by Cimafonte and a beautiful altarpiece depicting Saint Joseph’s passing. Moving further into the cathedral, the Cappellone del Santissimo Sacramento in the fifth bay features a false mosaic by R. Girondi and an altarpiece portraying the “Holy Redeemer between Saints Peter and Lawrence”. In the sixth bay, a stunning canvas of the “Assumption of the Blessed Virgin Mary” can be found, while the seventh bay showcases the “Jesus carrying the cross” canvas. The last bay houses a small door to the sacristy, adorned with Romanesque bas-reliefs depicting the Last Supper and Jesus entering Jerusalem, alongside the Porta della Pergola, the south side portal. Each space in the cathedral is rich in both artistry and history, offering a profound spiritual and visual experience.
The Ambulatory and Side Chapels
Once through the Porta della Pergola, the visitor ascends into the ambulatory, which runs around the presbytery. This area is adorned with five pseudo-Gothic radial chapels, each contributing to the cathedral’s spiritual and artistic wealth. In the central chapel stands a stele with a double-sided panel featuring the Madonna della Sfida on one side and the Redeemer on the other.
The North Side Portal: Porta della Misericordia
Continuing along the ambulatory, one reaches the north side portal, known as Porta della Misericordia. This portal, built by the Elefante family, was reopened in 2016 during the Jubilee of Mercy, and provides a meaningful access point to the cathedral.
Notable Artifacts and Altars on the Left Side
On the left side of the Cathedral of Santa Maria Maggiore, a series of remarkable altars and artifacts can be found, each contributing to the spiritual and historical significance of the cathedral. In the seventh left bay, a striking canvas of the Virgin of the Assumption adorns the wall, accompanied by a staircase leading to the rear part of the basement. Moving to the sixth left bay, a valuable pipe organ occupies the space, enhancing the cathedral’s acoustics and liturgical functions. The fifth left bay features a staircase that leads down to the archaeological excavations, revealing the remains of early Christian and medieval basilicas, along with Roman cave tombs, offering a glimpse into the church’s deep historical roots. In the fourth left bay, an eighteenth-century statue of the Immaculate Virgin stands as a testament to devotion and craftsmanship. The third left bay showcases a canvas of St. Michael the Archangel, flanked by Saints Gabriel and Raphael, adding a celestial dimension to the space. The second left bay is home to the marble altar of the SS. Salvatore, featuring a wooden panel of French fifteenth-century craftsmanship. Finally, the first left bay houses the stone baptismal font, surmounted by an elegant wooden lid, and accompanied by a canvas of St. John the Baptist baptizing Christ. Additionally, on the counter-façade, the canvas of the Assumption of the Blessed Virgin Mary is displayed, originally placed at the center of the false ceiling below the trusses, further enhancing the cathedral’s visual and spiritual appeal.
The Cathedral's Decoration
The decoration inside the Cathedral of Santa Maria Maggiore is a testament to its rich medieval heritage, featuring meticulously crafted elements that reflect various historical periods and styles.
Ciborium: The 12th-century ciborium is a slender, elegant structure supported by four small columns with finely detailed capitals. The base is square, and the octagonal drum rises through four levels, showcasing the skill of oriental craftsmen and adding a delicate yet powerful presence to the space.
Ambo: The 13th-century ambo, which was transformed into a pulpit in the 1950s, rests on six columns. Adorned with Czech arches, a distinctive feature of its era, the ambo adds architectural beauty and historical significance to the cathedral’s interior.
The Archbishop’s Chair: In 1961, a new stone Archbishop’s Chair was built to replace the old wooden throne. This chair, a gift from the Cathedral Chapter to Monsignor Reginaldo Addazi, Archbishop at the time, is supported by two stylobate lions—one dating back to the 12th century and another recreated to match its style. The back of the chair is adorned with a bas-relief of the Lamb of the Apocalypse, while the sides feature the coat of arms of both the Cathedral Chapter and Archbishop Addazi, creating a harmonious link to the cathedral’s historical continuity.
Baptismal Font and Stoups: The 13th-century baptismal font, octagonal in shape, is topped with an elegant wooden lid, blending both simplicity and grandeur. Additionally, the cathedral features stone stoups from the 15th century, further enriching the space with its variety of finely crafted elements, all contributing to the cathedral’s multifaceted artistic legacy.
The Cathedral's Location and Historical Significance
The Cathedral of Santa Maria Maggiore occupies a strategic position in the city of Barletta, sitting at the border of the ancient village of Santa Maria and the adjacent castle. The churchyard overlooks Palazzo Santacroce, seamlessly integrated into the historic heart of the city. The bell tower, located on the northern side of the church, provides access to the castle through an archway beneath it, which also leads to remnants of the ancient paving discovered in 2007.
The Cathedral Chapter and Its Role in Religious Life
The Cathedral Chapter of Santa Maria Maggiore has been a cornerstone of Barletta’s religious life for nearly a thousand years, with its origins dating back to at least the 10th century. It became closely intertwined with key historical events, particularly the Crusades and the city of Nazareth, which influenced its development. In 1169, the church gained prominence when a vicar of the Nazarene Prelate was stationed in Barletta, marking the beginning of its significant ecclesiastical role. In 1327, the Nazarene archbishops transferred their metropolitan seat from Nazareth to Barletta, establishing the city as a major religious center. Over the centuries, the church continued to grow, with 1456 and 1536 seeing the merging of additional diocesan seats into the Nazarene archdiocese. The chapter’s importance was further cemented in 1860, when Pope Pius IX elevated Santa Maria Maggiore to an archiepiscopal cathedral. Today, the Chapter consists of 18 canons who manage the cathedral’s daily operations, lead religious services, and promote devotion to the patron saints of Barletta. The Chapter remains an essential part of the city’s spiritual life, preserving centuries of tradition while ensuring the continued religious vitality of the community.
Festivals and Traditions
The Cathedral of Santa Maria Maggiore serves as the spiritual and cultural heart of Barletta, hosting numerous significant festivals and traditions throughout the year. One of the most important events is the Feast of the Madonna dello Sterpeto and St. Ruggero, celebrated on the 2nd Sunday of July, honoring the city’s patron saints. The Eucharistic-Penitential Procession of the Ninth Hour, held on Good Friday, is another key tradition, reflecting the deep religious devotion of the local community. The Feast and Procession of the Assumption, celebrated on August 15, marks a major Marian celebration, while the Feast of the Immaculate Conception on December 8 is a highlight of the city’s liturgical calendar. In 2015, the Porta della Misericordia was reopened as part of the extraordinary Jubilee of Mercy declared by Pope Francis, offering a renewed sense of spiritual significance to the cathedral. With its unique blend of Romanesque, Gothic, Baroque, and Rococo architectural styles, the cathedral stands as a living testament to Barletta’s rich religious heritage and vibrant tradition of faith.
Feast Day
Feast Day : 05 August
The feast day of the Co-Cathedral Basilica of St. Mary Major in Barletta, Italy is celebrated on August 5th. This date marks the dedication of the basilica to the Virgin Mary, commemorating its consecration. It is a significant feast for the local community and the cathedral.
Church Mass Timing
Yet to Update
Church Opening Time:
Monday : 9:00 am – 12:00 pm., 4:00 pm – 7:30 pm.
Tuesday : 9:00 am – 12:00 pm., 4:00 pm – 7:30 pm.
Wednesday : 9:00 am – 12:00 pm., 4:00 pm – 7:30 pm.
Thursday : 9:00 am – 12:00 pm., 4:00 pm – 7:30 pm.
Friday : 9:00 am – 12:00 pm., 4:00 pm – 7:30 pm.
Saturday : 9:00 am – 12:00 pm., 4:00 pm – 7:30 pm.
Sunday : 9:00 am – 12:00 pm., 4:00 pm – 7:30 pm.
Contact Info
Address :
Piazzetta del Duomo, 76121 Barletta BT, Italy.
Phone : +39 0883 345522
Accommodations
Connectivities
Airway
Co-Cathedral Basilica of St. Mary Major, Barletta, Italy, to Bari International Airport-Karol Wojtyla, Viale Enzo Ferrari, distance between 37 min (50.5 km) via SS16.
Railway
Co-Cathedral Basilica of St. Mary Major, Barletta, Italy, to V. Sabina Anemone 70054 Giovinazzo, Giovinazzo BA, Italy, distance between 33 min (40.8 km) via SS16.
