Co-Cathedral of the Assumption of Mary Troia, Apulia, Italy

The history of the Cathedral of Troia is deeply rooted in the region’s complex past, beginning with its construction on the site of a pre-existing Byzantine church. The earlier structure was largely built using materials repurposed from the ruins of the ancient Roman city of Aecae, located nearby. This continuity of sacred and architectural heritage laid the foundation for the cathedral’s prominent role in the spiritual and temporal life of Troia. Work on the new cathedral began in the late 11th century, with the first significant phase of construction taking place around 1073, though the exact date remains uncertain. Some excavations in the 1950s suggested that the present transept might have originally served as the nave of the earlier church, although this theory is now disputed. It is clear, however, that the cores of the two western pillars of the crossing date back to the first building phase, possibly serving the same function as in the original church structure.

The cathedral as we know it today took shape in the first quarter of the 12th century, largely through the efforts of Bishop William II of Troia, who began substantial renovations and expansions in 1093. The construction of the present nave was completed during his tenure, with an inscription on the bronze doors of the main portal marking the work’s completion in 1119. By this time, the nave had been largely finished, and further construction on the west front began in 1107, with continued work on the upper part of the façade extending into the 13th century. Throughout the centuries, the cathedral underwent numerous modifications. In the 17th and 18th centuries, the sacristy and the two arms of the transept were given their present form, although the eastern arm still contains materials from the earlier phases of construction. Additionally, the bell tower, which stands today, was built partly on the foundations of 11th-century walls.

The cathedral’s construction and subsequent modifications were intertwined with the broader political and religious history of Troia. The bishopric was not only a spiritual authority but also a temporal power within the city. During times of political conflict, the cathedral symbolized the bishop’s dominance and, in some cases, was the only representation of secular authority. The local bishop’s direct dependence on the Holy See further underscored the significant role of the church in the area. Troia was also an important stop along the medieval Via Francigena, the pilgrimage route that connected Canterbury to Rome. The town’s role in this network was acknowledged in the Privilegium Baiulorum Imperialium of 1024, which highlighted the strategic importance of Troia in the region.

The cathedral’s construction was sponsored and financed by Bishop William II, beginning in 1106. In 1119, the bronze doors created by the artist Oderisio da Benevento were installed. These doors not only completed the façade stylistically but also served to celebrate the bishop’s achievements, especially his diplomatic role in mediating relations between the Holy See and the Norman barons. Just eight years later, in 1127, a second side door was constructed, again by Oderisio da Benevento, reflecting a changed political climate. This new door was smaller and simpler, mirroring the region’s more difficult economic situation and the need for quicker, more pragmatic solutions. Bishop Gualtiero di Pagliara, who served from 1189 to 1201, oversaw the construction of the left arm of the transept, although the project remained incomplete. The right arm of the transept was not built until the 18th century. In the 13th century, further developments were made, including the completion of the presbytery with the construction of a cross vault in the choir and the creation of the iconic rose window on the main façade. These additions further enhanced the cathedral’s architectural significance, solidifying its place as one of the finest examples of Apulian Romanesque architecture.