Tarantism: Between Myth and Reality, Rituals and Dances in Salento
It is to Greek culture that some scholars trace the origins of the archaic choreutic-cathartic ritual of tarantism, in which a person writhes to the rhythm of music until they are freed from the poison of the spider that supposedly bit them. Some associate it with the Greek maenads, others with the myth of the virgin weaver Arachne, transformed into a spider by Athena. Still others recognize a possible Greek origin, though not necessarily connected to the maenads, while some emphasize the alleged links between tarantism and the clash between two cultures — Islamic and Christian — during the Crusades, when Salento was a land of arrival and departure for knights heading toward the “lands of the infidels.”
But beyond its uncertain origins, which perhaps could encompass all the hypotheses put forward by scholars, what exactly is tarantism? And how was it perceived over the centuries?
The First Appearances of the Phenomenon
Tarantism was already being discussed between the 9th and 14th centuries, and the oldest document providing evidence of it is the Sertum papale de Venenis, written in 1362, which states that “those who are bitten by the tarantula take the greatest delight in one kind of music or another.” During the same period, the physician Cristoforo degli Onesti also discussed the phenomenon in his treatise De venenis, and even Leonardo da Vinci included it among his reflections.
By that time, tarantism had spread throughout southern Italy, sometimes taking slightly different forms — such as the lively Neapolitan tarantella — and involved the use of energetic, rhythmic dances to cure the bite of a spider, which appeared to affect women particularly often. Music was therefore used in an attempt to treat those showing symptoms of spider-poison intoxication.
Throughout history, some scientists consequently focused on the music therapy aspect, investigating the effects that dance and music had on the body and mind, while physicians examined the nature of the illness and the causes of the disorder. They wondered whether the condition experienced by so-called tarantate was caused by a toxic reaction resulting from the bite of an arachnid or was instead a psychological disorder.
While it is true that spiders such as Latrodectus tredecimguttatus or Lycosa tarantula could, through their bites, cause muscle contractions and spasms, it was nevertheless strange that the phenomenon predominantly affected women. In summer, those working in the fields or handling tobacco leaves were not only women; men worked there too, yet they appeared to be less frequently affected by trance, hallucinations and spasms.
The matter became even more complicated with the intervention of the Church, which attempted to “domesticate” what appeared to be a pagan ritual by incorporating it into the cult of Saint Paul. Referring to the Acts of the Apostles, which recount that Saint Paul emerged unharmed after being bitten by a viper, and establishing June 29 — the saint’s feast day — as the day of definitive healing, the Church sought to unite faith and superstition, fear and hope.
Thus, the practices of tarantism, later studied and documented in Galatina (Lecce) by ethnologist Ernesto De Martino and his research team, became part of a complex religious and popular tradition.
What did the ritual consist of?
As De Martino documented in the poorest and most economically disadvantaged areas of Salento, some women began to experience symptoms supposedly associated with a spider bite: discomfort, hysteria and convulsions.
In an attempt to cure them, a sort of domestic musical-choreutic exorcism was performed, traditionally on June 28. The tarantate were placed in a dark room of the house — although in earlier times the ritual was performed outdoors — and lay on sheets spread across the floor.
Next to them were a basket for offerings and brightly colored images of Saints Peter and Paul. The tarantate — who were predominantly women — could also choose a colored handkerchief to tie around their waist or hold in their hands. The colors could be red, green or blue, supposedly corresponding to the color of the spider that had caused their illness.
Then the music began, generally performed with a violin, accordion and tambourine, instruments characteristic of the area. Skilled musicians played the opening notes of a pizzica or tarantella, and the tarantata would begin moving only to the rhythm of the composition she felt was capable of relieving her suffering.
She would writhe within the space marked by the sheet, stand up, roll on the ground, and make convulsive movements intended to eliminate the poison — whether real or symbolic. Sometimes she recovered, often she did not.
She would then turn toward an image of Saint Paul, speaking to him and asking what might cure her condition. Outside, people gathered to watch the frenzied dance.
The following day, June 29 — during the 1950s and 1960s — women suffering from the condition would come from all over Salento to the Chapel of Saint Paul in Galatina, where they drank water from the well believed to make the symptoms disappear.
Scenes of delirium, illness, screams and distress unfolded, much of which was functional to the healing ritual. Festivities then followed, accompanied by music. Some women recovered, while others prepared to be bitten again the following year.
What lay behind tarantism?
There could be, and still are, many explanations for the phenomenon. Once the likelihood of an actual spider bite was questioned, De Martino suggested that tarantism might be connected to a state of inner distress, unhappiness caused by extremely difficult living conditions, or a need for attention.
Psychiatry also considered — and continues to consider — the possibility that it could be associated with latent unconscious conflicts and forms of moral constraint. Several recurring characteristics of tarantism seemed to support this interpretation: the young age of the sufferers, the cyclical recurrence of the condition, the supposed time of the bite — noon — and the exorcism carried out through music and the intercession of Saint Paul.
Whatever the true causes that drove the tarantate, what remains of authentic tarantism is the extraordinary rhythm that continues to involve and exhilarate people, the overwhelming melodies, and the cathartic and liberating power that only pizzica and tarantella can still unleash today.
The Chapel of Saint Paul and the Myth of Tarantism
Among the many churches found in Galatina, the Church of Saints Peter and Paul, the patron saints of the city, deserves particular attention. Located just a short distance from the historic center, the church has been completely restored but remains an important artistic and historical testimony of considerable significance.
Adjacent to the church is the Chapel of Saint Paul, better known as the Chapel of the Tarantate. It is an 18th-century place of worship incorporated into Palazzo Tondi in the center of Galatina.
A small and simple structure, the chapel has an understated façade in the distinctive Lecce Baroque style.
Legend has it that the Apostles Peter and Paul, while traveling around the world, stopped in Galatina and were hosted by a devout local man in his home, which stood where the chapel is now located.
To thank him for his hospitality, Saint Paul granted the man and his descendants the power to heal anyone bitten by poisonous spiders, known in the local dialect as tarante.
Simply by drinking the water from the well located inside the courtyard of the house and making the sign of the cross over the wound, it was believed that this terrible illness could be defeated.
Inside the small chapel, above the only altar made of Lecce stone, there is a noteworthy painting entitled Saint Paul and the Tarantato by the painter Saverio Lillo of Ruffano (Ruffano 1734–1796).
The canvas is one of the artist’s final works; his signature and the date can be seen in the lower right-hand corner.
The composition is dominated by the figure of Saint Paul, wrapped in broad flowing draperies, standing against a background depicting a stretch of coastline, with a sail visible on the horizon to the left.
The saint’s luminous and solemn face, framed by a dark beard and thick hair, is turned toward the viewer. His left hand holds his cloak, while a long sword rests against his arm. His right hand points toward an angel holding a large open book, whose pages contain references to letters written by the Apostle to the Ephesians, Romans and Corinthians.
Saverio Lillo’s unusual pictorial narrative is closely connected with the phenomenon of tarantism. In the foreground on the left, a sick man — the tarantato — lies languidly supported by a woman, waiting to drink the miraculous water from the well, offered by a kneeling woman holding a small bucket attached to a rope.
The man’s suffering may be attributed to the snake, scorpion and tarantula depicted near his feet and those of Saint Paul.
The painting also contains elements alluding to the Apostle’s episode on the island of Malta: in the upper left, along the horizon, a sailing boat can be seen, while a crawling viper appears on the right, near the saint’s feet.
The numerous iconographic details in the painting — the tarantato supported by a woman, the bucket containing the miraculous water drawn from the Galatina well, and the poisonous animals — were intended to illustrate to the faithful the healing powers of the saint who could cure poisonous bites.
The other mural depicting Saint Paul, located in the niche of the second actual opening of the miraculous well in the courtyard of the building, can likewise be attributed to Lillo’s artistic style.
A stylistic comparison with other works by the painter has revealed that the saint’s facial expression corresponds to the characteristic features adopted by the Ruffano artist. It is presumably contemporary with the 1795 canvas displayed in the chapel.
The composition is classically structured: Saint Paul stands upright, his left hand holding a book and a sword, while his other hand is raised toward the sky in a gesture of preaching.
The phenomenon of tarantism represents a complex intertwining of beliefs, rituals and practices that have crossed the centuries, reflecting not only the social and cultural conditions of Salento but also the interaction between local traditions and external influences.
Although the exact origins of tarantism remain shrouded in mystery and interpretations range from scientific to cultural explanations, what clearly emerges is the cathartic and liberating function of the ritual.
The dances and melodies that accompanied the tarantate have become symbols of a living and pulsating tradition, capable of evoking and transmitting the emotional intensity and dynamism of that era.
The Chapel of Saint Paul in Galatina, with its history and legends, remains a precious witness to this intangible heritage, preserving the essence of a tradition that has evolved and endured through time.
Through art and music, tarantism continues to fascinate and engage, offering a glimpse into human resilience and creativity in the face of hardship and uncertainty.
Thus, even though scientific explanations may have clarified certain aspects of the phenomenon, the fascination and evocative power of pizzica and tarantella persist, keeping alive a fundamental part of Salento’s cultural identity.
The Bagnarole: Witnesses of the Belle Époque in Italy and Salento
The Belle Époque in Italy was a period of prosperity and innovation, spanning from the late 19th century until the outbreak of the First World War in 1914. Characterized by social, economic, and cultural changes, this period coincided with industrial development, technological progress, and artistic renewal. Italy saw an acceleration of industrialization, an expansion of railway infrastructures, and a growth of cities as economic and innovation centers. Technological advancements such as electricity, the telephone, and the automobile transformed the country, while the growth of the urban bourgeoisie and middle class led to improvements in living conditions. Culturally, the Liberty artistic movement influenced architecture and design, while literature, music, and theater flourished. Italian cities became important tourist destinations for the European elite, contributing to the development of tourism.
In particular, seaside tourism began to take hold, transforming the coasts into leisure spots for the bourgeoisie and aristocracy.
It was in this context that the “bagnarole” were born, iconic structures of this new era of leisure and well-being.
The Bagnarole: A Dive into the Past of the Belle Époque
The "bagnarole," mostly wooden mobile cabins mounted on wheels, were used to allow bathers to change and immerse themselves in the sea waters away from prying eyes. These structures, pulled by horses to the shore or even halfway into the water, offered discreet shelter in line with the decorum norms of the time, which required that women could enter and exit the water without being seen.
Born in the United Kingdom at the end of the 18th century, the "bagnarole" quickly spread throughout Europe during the Belle Époque, also becoming widely popular in Italy, especially in seaside resorts frequented by nobility and wealthy bourgeoisie seeking relaxation and social life.
Bagnarole in Salento: The Elegance of Santa Maria di Leuca
The jewel of summer vacations in Salento at that time was Santa Maria di Leuca.
The fashion for summer stays in coastal areas, which pervaded all social classes, led to the development of different types of "bagnarole":
- Bagnarola a conca: This was the type for the common people, essentially a natural hollow between rocks by the sea used by those who, not knowing how to swim, were looking for a safe place. Besides this natural "hole," there were also artificial hollows, indicating attempts at larger excavations.
- Uncovered bagnarola : A kind of bathtub carved into the cliff, generally quadrangular in shape. Almost all had a ladder to descend into the water, which entered through two openings and reached a very low level, so that both children and adults who could not swim could bathe. Originally, these "bagnarole" were reserved, so it was difficult to access them without permission. Each had the name of its owner, who belonged to a middle social level.
- Wooden bagnarola: Dug near the shore like the uncovered "bagnarola," with a quadrangular shape, sea access openings, and stone ladders, it served as the base for a wooden covering. Practically, the lower part, that is, the base, had water; then the wooden floor with ladders to descend into the water, followed by all-wooden side panels that closed the structure. The function of the wooden "bagnarola" was to create a private, secluded environment sheltered from the sun. These "bagnarole" no longer exist today; they were active until the 1960s. These "bagnarole" were usually reserved for upper bourgeoisie families. The structure would be set up at the beginning of the summer season and removed with the first autumn storms in early October.
- Stone bagnarole: The fundamental structure was the same, a section of the cliff carved into a quadrangular shape with two openings to the sea. Covered by a stone construction, it was accessed through a side door leading to a landing from which one could descend into the water via a stone ladder. The structure’s purpose was to offer the possibility of undressing and having a completely private environment. Therefore, a cabin that guaranteed a covered bath without being seen and maintaining the fair skin tone, as was the fashion of the time. These generally had a circular, hexagonal, or even dodecagonal shape. Located right by the sea, almost always in front of the villa to which they belonged. These were also a sign of nobility. This is because, starting from the late 1800s, numerous villas in Liberty and Moorish styles began to be built in Santa Maria di Leuca, in line with the era’s standards, as a representation of the growing power of the upper bourgeoisie and nobility. The villa owners could afford the luxury of reserving a piece of the coast and building their noble cabin in the style and color of their villa. It was a sign of "ownership" and "identity."
Today, only three stone "bagnarole" remain: two large ones, those of Villa Meridiana and Villa Fuortes, and a small one built on unexcavated rock near the pier (the former English dock).
Other examples of "bagnarole" in the Salento area can be found in Santa Caterina (a marina of Nardò) and Marina Serra (a marina of Tricase).
"The Bathing Room" in Santa Caterina di Nardò is accessible from two side openings to the room, one of which must have been the main entrance because the door hinges that closed the entrance are still visible; the other is very rugged and difficult to reach. But the most suggestive entrance is the semi-submerged hole that allows access from the sea. One holds their breath, takes two strokes, and is transported from a crowded beach to a place suspended out of time.
In Marina Serra, we find a "bagnarola a conca," known as the "Grotta dell’amore or degli innamorati" (Cave of Love or Lovers), and the "Grotta Spinchialuru," where near the opening, a cavity was created for undisturbed bathing.
Bagnarole in the Rest of Europe: An International Phenomenon
Beyond Italy, the "bagnarole" also became a symbol of the era in other European locations. In the United Kingdom, for example, the "bagnarole" were ubiquitous along the coasts of Scarborough, Brighton, and Whitby. In France, they were found in Deauville and Trouville on the Normandy coast, where they were used by French aristocrats and the Parisian bourgeoisie. In Belgian seaside resorts like Ostend, along the Baltic Sea coast in Germany, and on the elegant beaches of Scheveningen in the Netherlands, "bagnarole" became an integral part of the landscape.
Each country adapted them to its style and needs, but they all shared the same purpose: to allow discreet sea bathing while respecting the era’s strict moral standards.
The Bagnarole Today: A Historical and Cultural Rediscovery
Over time, the "bagnarole" lost their original function and were slowly abandoned or destroyed. However, in recent years, there has been a renewed interest in these iconic structures, which represent a window into the past and the elegance of the Belle Époque.
In some places in Europe, such as the British coast or the beaches of Deauville, some original "bagnarole" have been restored and preserved as tourist attractions and historical testimonies. In Italy, particularly, the recovery of "bagnarole" has been more sporadic, but there are examples of faithful reconstructions in places like Santa Margherita Ligure or in museums related to sea culture.
In Santa Maria di Leuca, although many original "bagnarole" have been lost, interest in this historical heritage remains alive. Some restoration and recovery projects have been initiated to preserve the memory of these fascinating cabins. In 2015, the "bagnarola" of Villa La Meridiana was severely damaged by a violent storm, creating a breach in one of the walls, which was promptly repaired. The rediscovery of the "bagnarole" is not just a way to enhance an architectural element, but also to relive and tell a story of elegance, traditions, and love for the sea.
The "bagnarole" represent much more than simple mobile structures: they are witnesses of an era when leisure, well-being, and elegance were fundamental values. Their rediscovery and enhancement offer a fascinating journey back in time, allowing us to relive the atmosphere of the Belle Époque and appreciate the history of Europe's seaside resorts, including the enchanting ones of Salento.
As interest in the "bagnarole" continues to grow, it becomes increasingly evident that their charm is not only tied to the past but also to the desire to reclaim a refined lifestyle linked to the pleasure of small things. Who knows, maybe one day we will see them return to our beaches as a symbol of a time that still fascinates and inspires.
Guide to financing for buying and renovating your home in Salento
If you are thinking of buying a house in Salento and need financing, there are some essential steps that will help you navigate the process smoothly, allowing you to achieve your goals.
First of all, it is important to carefully assess your budget and the total costs of the purchase. This means determining how much you are willing to spend on the house itself, but also considering all the additional expenses that often accompany a real estate purchase: from notary fees to taxes, from real estate agency commissions to any renovation work. Having a complete picture of these costs will help avoid surprises and plan your finances realistically.
Next, you need to learn about the different types of financing available to choose the one that best suits your needs.
The Mortgage
If you don't have most of the amount needed to purchase the property, you can apply for a mortgage from a financial institution. This is a financing contract through which the beneficiary (the one who applied for the mortgage) obtains the amount that will allow them to purchase the desired property. The borrower commits to repay the obtained amount to the financial institution, plus any interest, through a certain number of installments, whose amount and duration are defined by the amortization schedule accepted at the time of signing the contract.
All mortgage contracts include some essential elements: the chosen interest rate, the duration, the amortization schedule, and any additional guarantees besides the mortgage.
How much money should you have in the bank to apply for a mortgage? To choose the financing option, you first need to know the cost of the house and, therefore, the amount you need to obtain from the bank to complete the purchase. However, keep in mind that the maximum loan amount you can obtain is up to 80% of the property's value; you must have the remaining 20% available. Some institutions also offer mortgages up to 100% of the property value, but under more onerous conditions. Moreover, they require the customer to provide additional guarantees besides the mortgage.
The general rule of Italian banks is that the mortgage installment must not exceed 30% of the applicant's disposable income. If the mortgage is co-signed, the combined income of both applicants is considered. For example, with a salary of €1,200 per month, considering the 30% rule, the maximum monthly installment would be around 400 euros.
There are different types of mortgages based on the applied interest rate. Specifically, in a "fixed-rate mortgage," the interest rate does not change throughout the loan term, and the installments always remain the same. In a "variable-rate mortgage," the installment varies according to the interest rate trend, which is, in turn, linked to a market parameter. Therefore, the amount payable each month can fluctuate. Then there is the "mixed mortgage," which allows the borrower to switch from a fixed rate to a variable rate and vice versa. There is also the "capped mortgage," where a maximum limit is set beyond which the installment cannot rise. This way, from the outset of the amortization schedule, the borrower is guaranteed that the installment cannot increase to unaffordable levels over time. The fluctuation of the interest rate, which can rise or fall over time, may cause the mortgage amortization schedule to lengthen or shorten. Finally, there is the "introductory rate mortgage," where the bank and the client agree on a reduced rate for an initial period. Once this period expires, the current fixed or variable rate will be applied.
The amortization schedule is how the mortgage loan will be repaid to the bank. You can choose between a "French amortization schedule," which is the most common and provides that interest payments decrease over time while capital payments increase. Therefore, in the first installments of the mortgage, the interest payments will be higher, and the capital payments will be lower. The installment remains constant for the entire duration of the mortgage. There is also a "growing installment schedule," where the installments increase in amount every month. The "free amortization schedule," where the installments consist only of the interest payments, and the capital can be repaid within predetermined deadlines. As the repayments occur, the interest payments are recalculated. Lastly, there is the "fixed-rate and variable-duration schedule," where the installment remains constant, but interest rate variations determine the extension or shortening of the repayment plan.
Therefore, the amortization schedule will also determine the duration of the mortgage installments, from 5 to 30 years, and some banks go up to 40 or even 50 years.
When a bank grants a mortgage, it requires a mortgage lien on the house as collateral. In practice, the mortgage allows the bank to have two rights on the property: the right to take possession of the house if the mortgage cannot be repaid and the right to obtain the money from selling the house before other creditors. This way, the bank protects itself in case of non-payment or delays in mortgage installments. The mortgage is formalized by a notary and registered in the Real Estate Registers. Even with a mortgage on the house, you remain the owner and can continue to use it as you wish.
There are different types of mortgages depending on the type of real estate operations the customers need to undertake. Alongside the classic mortgage for purchase, there is also the mortgage for purchase and renovation, which in a single solution provides liquidity for both buying the house and carrying out the necessary works. This mortgage is essentially divided into two parts: one part is intended for the purchase of the primary residence, while the other is intended for the payment of the works. The first part is calculated based on the property's value, while the second part is based on the work estimate. The disbursement of money occurs in various phases: at the time of purchase and based on the progress of the works.
Not to forget the completion of construction mortgage, also called a building mortgage, granted by banks up to 80% of the cost required for construction to provide liquidity for the completion of the works. The duration is variable, averaging 30 years, and the conditions are different from those of a classic mortgage. It does not involve the complete disbursement of the loan in a single tranche but progressively depending on the progress of the works, and the documentation and guarantees required are greater than for other types of mortgages.
The Loan
Another form of available financing is a loan. It can be used to pay for current house expenses or renovation, but rarely for the actual purchase of the property.
It does not allow for the use of the tax benefits provided by financial law for those buying a primary residence and has a shorter duration than a mortgage (usually around 48/60 months).
It involves a shorter process for the request and approval, and it often takes just 15 days to obtain it. It deals with smaller sums than mortgages and requires real guarantees, such as a mortgage on the property, to cover the financing.
It is almost always granted in the form of a fixed-rate loan with installments and interest.
Mortgage or Loan?
Depending on your needs, you must evaluate whether they can be met with a mortgage or a loan.
The Case of Home Renovation
It is true that we almost always face a mandatory choice between a mortgage and a loan. However, in some cases, it is possible to freely choose between the two options. This is the case for renovations with an amount ranging between 30,000 and 70,000 euros.
Why this overlap? Because the maximum granted for personal loans is usually 70,000 euros. At the same time, the minimum granted for a mortgage is 30,000 euros.
How to compare these two options? We have only one valid way to do it: focus on the costs of each solution. A personal loan for an amount between 30,000 and 70,000 euros usually has an APR of around 5.5%.
A mortgage, on the other hand, offers rates around 2%. Of course, one should distinguish between fixed and variable rates and based on the individual case of the applicant. In general, however, they prove to be a significantly less expensive solution. This is especially true with the very low IRS and Euribor rates currently available on the market.
Not only that, but we must also consider that, in the case of renovating a primary residence, we can take advantage of all the benefits provided by the current financial law.
The advantage of personal loans, however, is there. Although more expensive and less convenient fiscally, they are usually granted more quickly.
Therefore, everyone has their preferred solution based on their priorities and the quotes received from banks and financial institutions.
In this article, we have seen how, thanks to financing, it is finally possible to realize the dream of buying and renovating a house in Salento, even if you don't immediately have all the necessary funds. With a mortgage or a loan, you have the opportunity to turn your dream of having a home in this beautiful land into reality, adapting it to your needs and style.
The Fountains of Salento: discovering history through water
Fountains have a millennia-old history, rooted in the earliest human civilizations. Originally, they were simple structures designed to provide drinking water to communities, but over the centuries, they evolved into architectural and artistic elements of great significance.
The first documented fountains date back to the Mesopotamian and ancient Egyptian civilizations. These cultures developed techniques to channel water from rivers and natural springs to cities. In Egypt, royal gardens were often adorned with simple fountains, fed by channels that brought water from the Nile. In ancient Mesopotamia, fountains were an integral part of palace gardens and courtyards.
In ancient Greece and Rome, fountains were common in both public and private spaces. Roman fountains, in particular, were supplied by complex aqueduct systems that brought water from mountain springs to the cities. The fountains of Rome were often monumental, such as those in the Roman Forum, serving both as sources of drinking water and as decorative elements.
During the Middle Ages, fountains continued to be a common feature in European cities, often located in monastery courtyards and central city squares. In this period, many fountains had a primarily practical function, such as distributing drinking water or irrigating fields. However, in some cities, fountains also began to symbolize power and prestige, with elaborate decorations and religious sculptures.
In the Renaissance, fountains once again became highly valued artistic elements. Italy, in particular, saw the construction of numerous fountains that combined advanced hydraulic engineering and art. Renaissance fountains, such as those designed by Gian Lorenzo Bernini in Rome, were often adorned with complex sculptures celebrating mythological deities, historical figures, and symbols of power.
During the Baroque period, fountains became even more theatrical and dramatic. Large Baroque fountains were often characterized by high water jets and complex water displays. Iconic examples of this period include the Triton Fountain in Rome and the fountains of Versailles in France.
With the advent of the industrial era, fountains continued to evolve, becoming symbols of technological progress. Modern fountains often use advanced pumping systems and lighting to create water displays that attract visitors. Today, fountains can be found in almost every city in the world, from small squares to large urban parks.
In many cultures, fountains continue to symbolize abundance, purity, and beauty, remaining central elements in many public squares and private gardens.
Fountains in Salento
Although fountains in Salento are not as numerous as in other Italian regions, they represent significant elements of the local cultural and artistic heritage, often tied to practical and symbolic functions.
In this context, Lecce is the subject of a saying of Bourbon origin, known as "The city without fountains," reflecting the irony and paradox associated with a place famous for its Baroque architecture and numerous decorative fountains, yet with scarce water resources. Despite the presence of many fountains, they were not always operational in the past, or lacked a sufficient water source to keep them running.
It is essential to mention the legendary Idume River, a watercourse that mostly flows underground, passing beneath the city of Lecce and surfacing only in a few specific points. Its source is near the town of Surbo, north of Lecce, and the river continues its course until it flows into the Adriatic Sea. Historically, the Idume provided drinking water and was used to irrigate fields. However, due to its underground nature and the karstic character of the territory, the river has always been difficult to manage and control. With the urban expansion of Lecce and environmental changes, much of its course has been covered, and today the Idume is mostly hidden beneath the city. Additionally, the presence of this underground river may be one of the main reasons behind the saying "Lecce, fountains without water." The city's fountains, although artistically rich, often had water supply problems due to the difficulty of accessing the water resources of the Idume River, hidden beneath the surface.
Historical sources attest that the oldest fountain in Lecce dates back to 1498, followed by another fountain at the end of the 16th century, located in the current Piazza Sant'Oronzo, between the Church of Santa Maria delle Grazie and the Roman amphitheater. The structure consisted of a hemispherical stone basin supported by nymphs, with the city's civic emblem (a she-wolf walking and a holm oak tree crowned by five towers) rising in the center. Water spouted from the center of the oak, falling into the basin below and then into two concentric octagonal basins at the base, which rose slightly above the level of the square. The water supply was provided by a large well and a hydraulic machine with stone pipes, powered by animal force, which in 1678 also fed the new fountain by the renowned architect Giuseppe Zimbalo, which replaced the previous one. The new monument was dedicated to the reigning king, Charles II, represented by an equestrian statue, and remained active until 1841, when it was demolished. The pre-existing fountain was not destroyed but relocated to the park of the Orsini del Balzo Counts, where it remained until 1756.
But was there water or not? There was and wasn't. Each time they wanted to make the fountain spout water, it was necessary to activate the well's hydraulic machine with a horse or donkey to fill the reservoir, so the fountain remained dry for most of the year, except on a few solemn occasions.
Today, the most representative fountain of Lecce is the Fountain of Harmony (also known as the Fountain of the Two Lovers), erected in 1927, on the occasion of the arrival of the aqueduct in the city, in front of the Castle of Charles V. This work, built in Trani stone, features two bronze statues placed on organ pipes of varying lengths: a man and a woman, both nude, holding up a shell from which they both drink. The sculptor intended to celebrate a very important moment for the city of Lecce through the allegory of love and sharing.
Moving away from the capital, we find other notable fountains in the province, which have become recognizable landmarks and points of reference for the communities where they are located.
The first one is in Nardò, and it is the "Fountain of the Bull", created in 1930. It bears the symbol of the city: a bull that makes water spout. Legend has it that the city was founded where a bull made water gush from the ground. The bull is also a symbol associated with the Spanish Aragonese, who ruled southern Italy for a period and arrived in Nardò during the Renaissance. This was a time when historical and literary attention was focused on the classical era, and the theme of myth, in which the bull has significance and frequency, was revived. Next to the fountain is a medallion featuring the city’s coat of arms and the phrase "Tauro non Bovi." The presence of the bull rather than the ox represents the strength of Aragonese rule or perhaps of the Neretine population itself.
In Gallipoli, between the historic center and the newer part of the city, stands the "Greek Fountain". Initially, local tradition and some critics believed that the fountain dated back to the 3rd century BC. However, further studies found it more accurate to place the architectural work in the Renaissance period. From 1548 until 1560, it stood near the now-lost Church of San Nicola. Then, in 1560, it was moved to its current location next to the Gallipoli Bridge.
But the mystery of its origins persists: the style that created the fountain is that of Ancient Greek art, a culture that used myth as a form of expression. According to this theory, with the invasions of the Goths, the statues were removed and then reinserted into the structure in 1560. Whatever the true dating, the Greek Fountain still arouses great interest and curiosity today. The fountain consists of two facades, each about 5 meters high: one facing northwest and the other southeast.
The northwest facade serves as a support and dates back to 1765. On it stands the coat of arms of Gallipoli, featuring an image of a rooster with a crown and a Latin inscription that reads *fideliter excubat*, meaning "faithfully watches." Also prominently displayed are the insignia of King Charles III of Bourbon.
Below is a watering trough where animals would drink, and in the 1950s, water was drawn from here for families without access to it at home.
The southeast facade is divided into three blocks, flanked by four caryatids that support the architrave, which is richly decorated and about 5 meters high. In the three sections between the four caryatids are bas-reliefs depicting the metamorphoses of three mythological figures: Dirce, Salmacis, and Byblis, women transformed into springs.
The most spectacular fountain is the "Monumental Cascade of Santa Maria di Leuca". Universally considered one of the most beautiful in Italy, this work, of high engineering value, has adorned the town for over 80 years. It forms the final stretch of one of Italy’s most ambitious and important projects, the Apulian Aqueduct, currently the largest in Europe. The cascade was created to celebrate the successful completion of the project and was inaugurated in 1939. In 1927, the Grand Siphon was finally completed, bringing water first to Lecce and then to the main towns of Salento, eventually reaching Santa Maria di Leuca. Between 1931 and 1941, the construction of the peripheral branches completed this grand project, which is now nestled in a stunning landscape of cliffs overlooking the sea and a pine forest. An imposing structure, it boasts a length of over 250 meters and a drop of about 120 meters, with a flow rate of 1,000 liters per second, ending directly in the sea. On both sides, two long staircases lead from the square of the overhanging Sanctuary of Finibus Terrae to the end of the cascade, where a Roman column has been placed, and then to the port. The cascade is not continuously on display to curious visitors, tourists, and spectators; instead, it is activated infrequently, especially during the summer, both to allow for the drainage and discharge of water and to create a suggestive and fascinating spectacle.
Lastly, but no less important, are the "Apulian Aqueduct fountains". Every town in Salento has at least one. These are small public fountains, all identical (128 cm high, 38 cm circular base, conical shape, topped with a cap and a small basin for water recovery, entirely made of cast iron, intermittent jet tap with an internal brass mechanism, still handcrafted today). They represent the symbol of the Apulian Aqueduct, the historic little fountain familiar to many squares in Puglia and southern Italy, which, starting in 1914, brought the first clean public water to Puglia, and still today, it stands as the undisputed icon of this epochal social achievement. Over the years, stories and rhymed poems about the fountain have multiplied, creating a popular literature, often in dialect: "All’acqua, all’acqua, alla fendana nova, ci non tene la zita se la trova" (“To the water, to the water, to the new fountain, whoever doesn't have a fiancée will find one”), says an anonymous nursery rhyme from the 1920s, reflecting the unconditional affection that the people of Puglia have for this simple life-giving tool.
Fountains in Salento, though not as numerous as in other Italian regions, are still an integral part of the urban and rural landscape. Besides providing water, these fountains served and still serve as meeting places, venues for festivities and socialization, representing symbols of life and community. For tourists, the fountains offer an opportunity to immerse themselves in local history and appreciate the architectural beauty of the region.
Salento, with its combination of historical and modern elements, continues to value fountains as part of its cultural heritage, reflecting the region's rich artistic tradition and the vitality of its people.
The Ancient Dovecote Towers of Salento: Tradition, Architecture and Prestige
Le torri colombaie (o “colombai”) sono strutture architettoniche storiche progettate principalmente per ospitare e allevare i colombi e i piccioni, utilizzate in molte culture in diversi periodi storici. L’uso delle torri colombaie risale all’antichità. Strutture simili sono state trovate già presso le civiltà egizia e mesopotamica. Nell’antico Egitto, i colombi erano allevati sia per la carne che per le loro doti di volo come messaggeri. Anche nell’antica Roma, i colombi erano considerati un simbolo di status sociale e venivano utilizzati per scopi simili.
Nel Medioevo europeo, le torri colombaie assunsero una grande importanza, specialmente in Francia, Italia e Inghilterra. In molte di queste nazioni, le torri colombaie erano spesso collegate a castelli, monasteri e residenze nobiliari.
Francia: Le torri colombaie erano conosciute come “pigeonniers” o “colombiers”. Il possesso di una torre colombaia era regolamentato per legge ed era associato alla nobiltà. L’allevamento dei piccioni era un’attività preziosa sia per la produzione di carne, che come fertilizzante grazie al guano prodotto dai colombi.
Inghilterra: Erano conosciute come “dovecotes”, ed erano anch’esse segni di prestigio. Durante il Medioevo, solo i signori feudali avevano il diritto di costruire una torre colombaia, e spesso queste strutture erano progettate con pareti spesse per proteggere i colombi da predatori come i falchi.
Italia: In Italia, le torri colombaie sono frequenti nelle regioni rurali, e si legano alla tradizione contadina e alla vita agricola.
Tipica del paesaggio rurale sin dal medioevo, la torre colombaia era pensata per allevare columbidi. Tale attività aveva soprattutto scopi alimentari, data la capacità che questi volatili hanno di riprodursi anche sei volte l’anno e la considerazione in cui una volta era tenuta la loro carne. Ma queste bestiole erano allevate anche per addestrare i falchi da presa, come confermato da Federico II nel suo ‘De ars venandi cum avibus’. I colombi servivano pure a produrre guano, eccellente per concimare i terreni e, stante una sostanza a base di azoto contenuta, per conciare le pelli. E ancora più utili si rivelavano questi animali, già dai tempi degli Egizi e dei Persiani, per la capacità che possiedono –effetto di un innato potentissimo senso di orientamento – di spiccare il volo con un breve messaggio attaccato alle zampine, di consegnarlo a distanza anche di centinaia di chilometri e di ritornare infallibilmente alla base.
Le prime torri colombaie in Salento sono state create su resti di strutture di età messapica: ne è un esempio l’Ipogeo di Torre Pinta a Otranto, che nacque come insediamento messapico per uso cimiteriale, come testimoniato dai resti di un forno dove avvenivano le cremazioni e i sacrifici e dalle numerose nicchie lungo le pareti utilizzate per ospitare le urne cinerarie; successivamente fu convertito in colombaia[1]. Durante il XVII secolo, al di sopra dell’ipogeo fu innalzata una torre[2], anche per sopperire al crollo di parte della volta: anche questa fu adibita a colombaia, il cui massimo utilizzo fu durante l’epoca borbonica quando venivano allevati piccioni viaggiatori da impiegare nella Terra d’Otranto.
Ad Ugento, in località Cupelle, caratterizzata dalla presenza di antiche cave di pietra calcarea, troviamo nei vari affioramenti rocciosi, i segni di estrazione ancora visibili, che permettono di ipotizzare che i blocchi estratti, di notevoli dimensioni, siano stati messi in opera nella vicina cinta muraria messapica. In uno di tali affioramenti è stata scavata un’ampia colombaia rupestre, probabilmente di epoca medievale o moderna cui si accede da ovest mediante un’apertura larga m. 1 ca..
La colombaia, di pianta ovale, era destinata all’allevamento intensivo dei colombi e le nicchie, che accoglievano i volatili e che traforano tutte le pareti, disposte su otto file, sono a prospetto quadrangolare, con il lato superiore leggermente voltato. Verso est, un corridoio conduce all’esterno; lungo di esso, sul lato settentrionale, si apre un altro ipogeo. E’ chiamata “Grotta di Polifemo” per via della grande apertura circolare posta sul soffitto, che la fa assomigliare ad un grande occhio. Questo grande foro serviva per consentire l’ingresso ai volatili che nidificavano all’interno delle nicchie.
Monumentali torri colombaie a base circolare o quadrangolare attestano l’attività umanizzatrice che interesserà il paesaggio rurale salentino nel corso dei secoli. È intorno alle metà del Cinquecento che si costruiscono le più belle torri colombaie, nella stessa epoca in cui si registra in Terra d’Otranto il massimo sviluppo dell’economia agricola e il momento più significativo delle realizzazioni architettoniche in ambiente rurale. La loro diffusione storica sarà così massiccia che il toponimo Palumbaru identificherà intere località in diversi feudi dei borghi di Terra d’Otranto, proprio ad attestare la presenza di queste singolari costruzioni anche in aree dove ormai non ne rimane più alcuna traccia. Una presenza confermata anche dai documenti archivistici, dai quali emerge pure l’importanza dell’allevamento dei colombi, la disciplina che ne regolerà la caccia o la tutela, il ruolo che questi pregiati volatili avranno nell’economia delle nobili famiglie di Terra d’Otranto. Dell’allevamento dei colombi se ne occupò persino la regina Maria d’Enghien, che nel suo Codice dichiarava, quasi minacciosa “che nulla persona ausa occidere, o menare con balestra, oy con archi alli palumbi de palumbaro. Né pigliare dicti palumbi con riti, oy costule, excepto se fusse patruno. Et chi nde fara lo contrario cadera alla pena de uno augustale”. Concetto ripreso in toto nei Capitoli della Bagliva di Galatina (1496-1499), ma anche nei Bandi Pretori di Torchiarolo (1667) e Novoli (1716), dove si elencano le severe punizioni per chi cerca di catturare o uccidere i colombi allevati, che partivano da un minimo di 15 giorni di carcere. Tutto questo ci fa capire il grado di considerazione che aveva questo allevamento, ed il commercio che ne conseguiva. Commercio che girava nelle mani del nobile o del potente ecclesiasta proprietario terriero di turno. Soltanto nel 1789, con la caduta dei privilegi feudali ancora vigenti fin allora in Terra d’Otranto, i contadini acquisirono il diritto di uccidere i colombi che vedevano razzolare sui loro campi seminati.
L’edificazione di tali architetture è strettamente connessa ad una serie di fattori.
Valenza diplomatica: i piccioni viaggiatori permettevano ai regnanti di mantenere rapporti economici e doplomatici con tutto il bacino del mediterraneo, a partire da Venezia, sino a Castantinopoli. La posizione favorita del Salento nel Mediterraneo gli permetteva di essere un “fulcro comunicativo”, e proprio per questo il numero di torri colombaie è molto alto; ne sono state censite ufficialmente circa 200.
Valenza economica: nell’allevamento dei colombi, l’uomo sfrutterà le abitudini di questi volatili costruendo edifici particolarmente favorevoli alla loro nidificazione e, al contempo pratici e funzionali nella fase del prelevamento degli esemplari più giovani. Privilegio in epoche passate della nobiltà e del clero, la carne del colombo, infatti, per le sue particolari proprietà nutrizionali, sarà fondamentale nell’alimentazione di bambini, anziani e puerpere. Il valore economico delle torri colombaie non deriva però, soltanto dalla possibilità di poter allevare migliaia di colombi e quindi dalla grande disponibilità di carne pregiata, ma anche dall’enorme quantità di columbina che si accumula all’interno delle torri stesse. Oltre ad essere un ottimo fertilizzante, troverà vasto utilizzo nella concia delle pelli.
Valenza difensiva: le grandiose dimensioni di questi monumenti architettonici e la loro collocazione molto spesso isolata e in posizione appartata rispetto al complesso edilizio della masseria, non è certo casuale. Se già l’edificio turriforme della masseria ha la funzione di scoraggiare eventuali assalitori, un secondo edificio a forma di torre, dai volumi severi, viene concepito per suggerire l’idea di una ulteriore opera di difesa del territorio e quindi dell’insediamento. Si potrebbe così giustificare anche l’imponenza di queste costruzioni, soprattutto laddove il fabbricato della masseria si presenta con volumi modesti e privo di elementi per la difesa.
Valenza simbolica: oltre ad essere parte integrante della struttura economica della masseria, la colombaia diviene vero e proprio veicolo di comunicazione di uno status sociale. È proprio sulla colombaia che il proprietario terriero comunemente colloca il suo stemma, fa incidere la data della costruzione e ne sintetizza gli scopi della realizzazione.
Isolate o poco distanti dal complesso masserizio, altre volte inglobate in giardini chiusi, sono costruite secondo parametri ben precisi di larghezza ed altezza per favorire l’accesso dei colombi e per proteggere le nicchie dagli agenti atmosferici.Le tecniche di costruzione, storicamente codificate, prevedono un’altezza di poco maggiore alla lunghezza del diametro e ancora, come spiega il Milizia: “la loro altezza non vuole essere assai grande per non difficoltare ai genitori il trasporto del cibo ai loro parti; può stare dal duplo fino al quadruplo della loro larghezza. La capacità di questa camera deve essere mediocre; se è troppo ristretta, vi si concuoce tutto nell’estate; se è troppo grande, quei volatili vi soffron freddo nell’inverno: il suo diametro può essere da 16 fino a 24 piedi”. Le colombaie sono costruite in blocchi di tufo squadrati, prive di copertura e dotate di una sola apertura, raggiungibile con una scala a pioli, ad alcuni metri dal piano di campagna per evitare l’accesso dei predatori feroci; rampe di scale (da 7 ad 8) si sviluppavano lungo le pareti interne con andamento elicoidale, sporgenti come mensole dal parapetto murario; cordoli in rilievo si collocano al di sotto dell’apertura per ostacolare la scalata di rettili; merlature, cordoli a sbalzo, cornici aggettanti, oltre che avere una funzione decorativa, fungono da “appollatoi” per i colombi in uscita ed entrata dalla torre stessa. La tipologia a pianta quadrata è probabilmente una conseguenza del terremoto del 1743: in seguito alla distruzione di buona parte del patrimonio edilizio rurale, si avvia la ricostruzione anche delle torri colombaie con forme e tecniche più semplici. Si tratta in ogni caso di una tipologia legata ad epoche più recenti.
In particolar modo le masserie, con la loro ampia volumetria, permettevano di trovare anche soluzioni alternative più economiche rispetto alla classica torre, e spesso troviamo colombai inglobati nei loro strati murari, nelle loro corti interne, o in alcuni casi inseriti nella torre della stessa masseria.
La torre colombaia più grande del Salento è quella di Carpignano Salentino: con i suoi 12 metri di altezza e 62 di circonferenza, in agro di Carpignano Salentino, in zona Cacorzu, a due passi dal santuario dedicato a Santa Maria della Grotta, del ‘500, edificato sopra una cripta intitolata a San Giovanni Battista. E’ stata realizzata sul finire del ‘400 e poteva contenere all’incirca 5000 coppie di colombi, i quali avevano la possibilità di nidificare in altrettante cellette. Alla base una piccola porta, unico accesso alla torre se si escludono le piccole finestrelle dalle quali si intravede l’ipnotico gioco circolare di cellette, sovrastata dallo stemma degli Orsini del Balzo.
Una delle torri colombaie più antiche del Salento è quella appartenente alla Masseria Celsorizzo, situata ad Acqaurica el Capo. A trenta metri dal complesso masserizio di Celsorizzo è una torre colombaia, a pianta circolare, databile al 1550, come riportato dallo stemma gentilizio dei Guarini e dall’iscrizione posta sulla porta di accesso: FABRICIUS GUARINUS / HOC FRUCTUS AUCUPANDIQUA CAUSSA / CONSTRUXIT SIBI AMICISQUE – ANNO D.NI MDL. – “Fabrizio Guarino fece costruire questa colombaia per sé e per i suoi amici per diletto di caccia. Anno 1550”.
La torre colombaia è divisa esternamente in due livelli da un cordolo a superficie piatta. Un toro marcapiano cinge la torre a mezzo metro dal piano della campagna: a questa altezza nasce l’accesso all’interno della colombaia, interno realizzato con le buche per i colombi e le scalette con i gradini sporgenti dalle fiancate.
Uso attuale delle torri colombaie nel Salento
Oggi, le torri colombaie del Salento non sono più utilizzate per l’allevamento dei colombi come nel passato. Tuttavia, queste strutture hanno trovato nuovi usi, principalmente legati al turismo, alla conservazione e al recupero architettonico.
1. Recupero architettonico e conservazione
Molte torri colombaie nel Salento sono state restaurate e conservate per preservare la loro valenza storica e culturale. Grazie a fondi pubblici e privati, queste torri vengono salvaguardate come parte del patrimonio rurale della regione, evitando il rischio di abbandono o degrado.
2. Turismo e agriturismo
In alcuni casi, le torri colombaie salentine sono state riqualificate e trasformate in alloggi turistici o strutture legate all’agriturismo. In particolare, molte masserie che oggi fungono da agriturismi o bed & breakfast hanno restaurato le colombaie per offrire ai visitatori uno scorcio del passato rurale del Salento. Questi edifici, che rappresentano l’architettura tipica del luogo, vengono valorizzati come simbolo della storia e della cultura agricola salentina.
3. Usi culturali e artistici
Alcune torri colombaie sono state trasformate in spazi culturali o artistici. Ad esempio, in alcune località del Salento, torri restaurate ospitano mostre d’arte, eventi culturali o sono utilizzate come spazi espositivi per promuovere la cultura locale e le tradizioni salentine.
4. Conservazione della fauna
In alcuni casi, le torri colombaie sono state preservate anche per favorire la conservazione delle specie di uccelli che vi nidificano. Sebbene non si allevino più colombi per scopi economici, le torri possono ancora servire come habitat per uccelli selvatici, diventando così parte di progetti di conservazione della biodiversità.
Un ponte tra passato e presente
Le torri colombaie del Salento, una volta utilizzate principalmente per la produzione di carne e fertilizzanti, oggi rivivono grazie alla loro importanza storica e culturale. Queste strutture non solo testimoniano il passato agricolo della regione, ma contribuiscono anche allo sviluppo del turismo sostenibile, rafforzando il legame tra la storia rurale e il presente moderno del territorio.
Between clay and dreams: salentine ceramics, ancient roots and architectural visions
Salentine ceramics, one of the most authentic and ancient expressions of Apulian craftsmanship, represent a cultural heritage of inestimable value. This artisanal tradition, born centuries ago, has evolved over the ages in forms, styles, and uses, while always maintaining a deep connection with the local territory and architecture.
The word "ceramics" itself has Greek origins, from "kéramos," which means "potter's clay." Due to its great versatility, this material has been used over the centuries to produce various objects, crafted by the skilled hands of expert artisans and ready to be decorated with a variety of techniques.
The origins of Salentine ceramics date back to prehistoric times when local populations began shaping clay to create everyday utensils and ritual objects. Among the most celebrated traditional pottery for its beauty, the Messapian production, typical of Salento between the eighth and third centuries BC, holds a place of honor. The Messapians, an ancient population of Illyrian origin, created vases (notably ollas and trozzelle) with increasingly complex decorations, starting with geometric motifs in the early period and later influenced by Greek patterns. Soon, Messapian vases began to be fully decorated, including floral and figurative motifs, before returning to geometric and monochromatic decorations in the third period, this time with clear Hellenic influences. New forms of vases also emerged, such as the pyxis or the krater, but the typical trozzella, with its ovoid body and ribbon-like handles equipped with four characteristic wheels, remained the truest and purest expression of Messapian art, along with types like the pignata, used for cooking typical Salentine dishes, and the capase, for storing water.
During the Greco-Roman period, ceramic production in the Salento region was enriched with more sophisticated techniques and decorations, influenced by contacts with Mediterranean civilizations. These cultural exchanges contributed to the development of a ceramic tradition characterized by a great variety of forms and decorative motifs.
With the advent of the Middle Ages and then the Renaissance, Salentine ceramics continued to thrive, establishing themselves as a refined art. Artisan workshops multiplied in the main cities of Salento, such as Lecce, Grottaglie, and Cutrofiano, where artisans experimented with new glazes and decorative techniques. During the Baroque period, Salentine ceramics reached the pinnacle of their artistic expression, thanks to the richness of floral motifs and mythological figures.
Over the centuries, Salentine ceramics have undergone continuous evolution, adapting to new aesthetic and functional needs. Production has expanded from creating everyday objects, such as plates, vases, and pots, to producing decorative elements for architecture, such as majolica tiles and rosettes. The blending of other Italian and European ceramic traditions has enriched the Salentine stylistic repertoire, leading to the creation of unique pieces that combine tradition and innovation.
Today, Salentine ceramics keep traditional artisanal techniques alive while also embracing new technologies and contemporary design trends. Many artisan workshops, often family-run, continue to produce ceramics using ancient methods but with an eye on modern market demands.
In contemporary usage, Salentine ceramics are applied in various contexts, both as functional and decorative elements. Ceramic objects are appreciated for their beauty and their ability to tell the story and culture of Salento. In addition to traditional kitchen items, Salentine ceramics are used to create furniture accessories, such as lamps, tables, and tiles, adding a touch of elegance and authenticity to spaces.
Ceramic craftsmanship is also an important economic sector for the region, attracting cultural tourism. Fairs and markets dedicated to Salentine ceramics draw visitors from all over the world, eager to discover and purchase unique, handmade pieces.
Among the most characteristic elements are:
Capase or Capasoni
The farmers of Puglia and Salento used these beautiful terracotta containers for various purposes, mainly to store liquids like extra virgin olive oil, water, or wine. The value of these containers was that they could preserve the characteristics of the contained liquid, particularly its temperature. The name capasa comes from the Latin "capax capacis," meaning "capable," referring to the often large capacity of these containers and their usefulness in storing liquids. The capasa is also known as capasone, with an augmentative meaning. In past centuries, the larger capase were used instead of barrels during the grape harvest. Just a few dozen of the largest ones (with a capacity of at least 200 liters) were enough to store wine. Usually, the mouth of the capasoni was sealed with a plug made of lime and ash. Near the base of the capasone, about twenty centimeters from the bottom, there was a drainage spout to which a sort of tap was attached, called "cannedda." Sometimes, a small cork plug, known as "pipulu," was used instead. This made it easy to obtain the right amount of wine or oil by bringing a container close to the cannedda.
Capasoni were not only used for agricultural work but also for transporting liquids back and forth across the Mediterranean. They were key players in trade for a long time, even to the Middle and Far East.
Today, capase and capasoni have come back into fashion, and there is a large market revolving around the search for old specimens and their revaluation. It is common to see them at the entrances of prestigious tourist resorts, in the courtyards of many noble villas, and in gardens and outdoor areas.
The Rooster
The undisputed protagonist of the decoration of Apulian ceramics, the rooster can be found on many everyday objects, most of which are used at the table during meals. Its history has ancient and extraordinary origins, and the rooster symbolizes the figure of Mercury, the god of commerce, profit, and eloquence. The rooster is therefore identified as a sacred animal, which, besides representing Mercury, can be linked to other important symbols. It is considered almost a domestic animal, capable of driving away all negative energies and malice from one's home. Lastly, but not least importantly, the famous Apulian rooster is considered a symbol of fertility.
The bond between Salentine ceramics and architecture is particularly strong.
Since the Baroque period, majolica tiles and decorative ceramic panels have been used to embellish churches, palaces, and noble residences. Ceramics became a distinctive element of Lecce Baroque, with its vibrant colors and ornamental motifs enriching the facades of buildings.
Even in contemporary architecture, Salentine ceramics continue to play an important role. Architects and designers often choose ceramic materials for their aesthetic and functional qualities, such as durability and ease of maintenance. Ceramic tiles are used both indoors and outdoors, creating continuity between tradition and new trends in sustainable architecture.
Salentine ceramics, with their ancient roots and continuous evolution, represent a symbol of the culture and identity of Salento. Their relationship with architecture and their current use testify to the ability of this tradition to renew and adapt to the times while preserving its authenticity. The future of Salentine ceramics looks bright, with new generations of artisans ready to carry on this heritage with passion and creativity.
Apotropaic Architecture in Salento: Symbols and Secrets of a Millenary Tradition
Apotropaic architecture in Salento represents a fascinating and meaningful tradition, which intertwines symbolism, religiosity and popular culture. This type of architecture, characterized by elements designed to protect homes and places of worship from evil influences, finds its roots in ancient practices and has developed over the centuries, adapting to the cultural and social changes of the region.
The term “apotropaic” derives from the Greek “apotrépein”, which means “to drive away”, and refers to objects, symbols or architecture designed to drive away or keep away evil. In Salento, as in many other regions of the Mediterranean, these practices are deeply rooted in the local culture and have their origins in antiquity.
The influences of the apotropaic architecture of Salento are to be found in the ancient Greek and Roman civilizations, which had already developed a series of rituals and symbols to protect their homes from evil spirits. Over time, these practices have merged with local religious and popular beliefs, giving rise to a unique architectural tradition.
During the Middle Ages, the apotropaic architecture of Salento took on a more defined connotation, with the introduction of decorative and structural elements specifically designed for protection from the forces of evil.
The main elements of apotropaic architecture are many:
- Mascarons and Stone Heads, or grotesque masks or faces carved in stone, often placed above doors or on the corners of buildings. It was believed that these frightening images could ward off evil spirits or the “evil eye”, or the bad omen resulting from a malevolent look. One of the most characteristic examples is the “Loggia degli Sberleffi”, located in Giuliano di Lecce, built in 1609 on 15 corbels representing different figures that mock, precisely, the evil spirits that would like to disturb the domestic peace, thus driving them away with their grimaces, tongues and long faces. Some of the figures have an appearance that borders on the grotesque, elf ears, drooping cheeks, enormous moustaches. Others are extremely nice. They certainly represent different moments in a man's life, from faces that range from youth to old age, an aspect also highlighted by the camouflage and facial features.
- Fairies, beautiful and graceful sculptures, which instead have their origins in the oral tradition of the fable, also placed outside the buildings for protective purposes. The most evident testimony is present in the outskirts of Lecce, at the Masseria Tagliatelle, a sixteenth-century noble residence, which contains within it the "Ninfeo delle Fate" a place of water and idleness, in which the ladies gathered to stay cool and spend time together. Without a doubt a magical place, with all its load of centuries-old charm. It is called this way for the sculptures that dominate the twelve niches, six on each side. Six remain: three on each wall. Six life-size female figures that seem to have been drawn by Botticelli. The statues of these mythological creatures, one with its head crowned with flowers, welcome passers-by towards the area where the spring water penetrated and the noble women chatted about this and that.
- Pinnacles and “Pumi”, where the first are cone- or pyramid-shaped decorations often found on the roofs of houses (especially in Masserie), and the second, the “pumi”, are small ornamental spheres typical of the Salento tradition. They represent a rosebud that is about to bloom, as if to demonstrate the elegance of nature, and this is why in addition to being an original furnishing object, it has a very important meaning, in fact it symbolizes: luck, abundance, prosperity, fertility and novelty.
- Crosses and Religious Symbols, carved or painted on the walls, above the doors, or integrated into the facade decorations. The Coastal Towers are a singular case, on which we find symbolic decorations, such as the Maltese cross or other engravings, intended to protect the inhabitants and discourage attacks by Saracen pirates. A sign of the Christian faith, they served as divine protection against evil. They were often placed in strategic points of the buildings to strengthen their apotropaic function.
- Rose windows, or circular stone windows, often decorated with geometric or floral motifs, typical of Romanesque and Gothic churches, which in addition to having an aesthetic and practical function for internal lighting, symbolically represent the sun or the divine eye, protecting the building from negative energies.
- Sculpted frames, friezes and geometric motifs are often present around doors and windows. These elements not only embellish the structure, but were also intended as symbolic barriers against evil spirits, which were believed to be confused or blocked by complex patterns.
- Altars and niches containing sacred images or statues of saints, frequently placed inside homes or on external walls, offer spiritual protection and act as a point of prayer for the family, invoking divine blessing and protection upon the home.
Apotropaic architecture in Salento mainly uses local stone, Lecce stone, which is easy to work with but resistant, to create these decorative elements. In some cases, materials such as wrought iron are also used, especially for crosses and other symbols placed on roofs or on the sides of doors.
Despite the passage of time and the advent of modernity, apotropaic architecture in Salento still retains a particular charm and a deep meaning for the inhabitants of the region. Many of the ancient practices and symbols have been passed down from generation to generation and continue to be present in many homes and places of worship.
In recent years, there has been a renewed interest in these traditions, thanks also to archaeological and anthropological studies that have rediscovered the historical and cultural value of these architectural elements. Cultural tourism has helped bring these testimonies of the past to light, which are appreciated not only for their aesthetic value, but also for their symbolic meaning.
Apotropaic architecture in Salento, in addition to having a protective function, represents a way to express one's cultural and religious identity. Apotropaic symbols and decorations reflect a vision of the world in which the sacred and the profane are intertwined, and where divine protection is sought through the creation of a safe and sacred space.
Furthermore, these architectural elements testify to the resilience of the Salento culture, which has been able to adapt to changes without losing its connection with its roots. Apotropaic architecture continues to be a distinctive element of the urban and rural landscape of Salento, helping to keep alive a thousand-year-old tradition.
Apotropaic architecture in Salento represents a cultural heritage of inestimable value, which allows us to better understand the beliefs and practices of a society deeply rooted in its history and tradition. Through the analysis and conservation of these architectural elements, it is possible not only to preserve a piece of local history, but also to reflect on the complex relationship between man, architecture and spirituality.
The Stones Tell: The Dry Stone Walls of Salento, History and Resilience in the Landscape
Dry stone walls, characteristic of the Salento landscape, represent a tradition that has its roots in ancient times. These structures, built without the use of mortar, are an extraordinary example of rural architecture, a symbol of a past rich in history and culture. In this article we will explore the origins, evolution and current use of dry stone walls in Salento.
The first evidence of dry stone walls in Salento dates back to pre-Roman times, and the walls of this period have a structure of square blocks placed horizontally.
The local populations, the Messapians, began to use them to protect their crops from grazing, to mark the border between one property and another, as a small enclosure for animals (ncurtaturi), or they built them along the coast to protect crops from atmospheric agents.
The construction techniques were handed down from generation to generation, improving and adapting over time, and a real "craft" was born, handed down from father to son, the so-called "paritaru" ("parite" in Salento dialect means wall).
Currently the most significant evidence of these ancient walls is found in northern Salento, in the "Archaeological Park of the Messapian Walls", which extends for 150,000 m² to the north-east of the municipality of Manduria. Inside, large sections of the triple circle of walls that surrounded the city in the Messapian era are preserved.
During the Roman period, the practice of building dry stone walls became more widespread. Following the example of the civilizations that preceded them, the Romans adopted more than one dry stone construction technique (opus, in Latin), but the most widespread in Salento is the polygonal work (opus siliceum). The construction technique involves the composition of a rock bank arranged in two parallel rows of large stones, then two more rows of smaller stones converging upwards are added and the empty spaces are filled with other thinner material. The rows are then tied together with other larger stone slabs, this time inserted edgewise. In this case too, the spaces are filled with material. To finish everything off, the remaining cracks in the facades are closed by inserting stone chips. The Romans, expert engineers, recognized the effectiveness of these structures in containing the land and in delimiting agricultural areas.
In the Middle Ages, dry stone walls continued to be used mainly for the creation of terraces on hilly terrain, to prevent soil erosion and facilitate cultivation, and also to build rainwater channeling systems, improving the irrigation of fields. These structures were also very useful in animal breeding, and the projecting walls, in addition to enclosing their courtyards, were insurmountable by wolves, foxes and cattle herders, as well as ensuring the possibility of saving on labor for the care of animals, raising them in a semi-wild state.
During the Renaissance, a period of great expansion and innovation in many sectors, agriculture also underwent significant changes. This era, characterized by the rediscovery of antiquity and a growing interest in science and technology, profoundly influenced the way in which agricultural landscapes were managed and structured. In Salento, dry stone walls became even more widespread and vital to the agricultural economy, responding to new production and environmental needs. With the expansion of agriculture and the increase in production needs, these structures proved essential not only for the delimitation of land and the control of soil erosion, but also for harmonious integration into the rural landscape.
The twentieth century saw a partial abandonment of dry stone walls, due to the mechanization of agriculture and increasing urbanization. With the introduction of modern agricultural machinery, the way in which the land was cultivated changed radically, as heavy machinery required large and obstacle-free spaces to function effectively, and therefore many dry stone walls were knocked down or destroyed. This change also led to a loss of traditional cultivation techniques and the knowledge associated with the construction and maintenance of dry stone walls.
The increasing urban development and the expansion of residential and industrial areas also significantly affected the landscape of Salento, because with urban expansion rural areas were often converted into urban or residential areas, leading to the demolition of dry stone walls to make room for new buildings. Furthermore, many dry stone walls remained abandoned and in a state of decay, as rural communities moved to cities and peri-urban areas.
In the last decades of the twentieth century there was a change of trend, and there was a growing recognition of the cultural and landscape importance of dry stone walls. Historians, archaeologists and environmentalists began to highlight their historical and cultural value as an integral part of the rural heritage of Salento. Furthermore, people began to understand how much dry stone walls contribute to the beauty and uniqueness of the Salento landscape, offering a distinctive element that enriches the view and understanding of the territory.
All this has led, nowadays, to a renewed interest in their conservation, with significant consequences. Today, in fact, the dry stone walls of Salento are recognized as a cultural heritage of great value. In 2018, the art of dry stone walls was inscribed on the UNESCO list of intangible cultural heritage, a recognition that has given new life to conservation and restoration efforts. Traditional techniques are now taught to new generations, ensuring the continuity of this ancient art.
Furthermore, dry stone walls are increasingly appreciated for their positive environmental impact. In addition to preventing soil erosion, they promote biodiversity, offering refuge to numerous species of flora and fauna, a true "ecological corridor" that allows the transmission of a microfauna rich in insects, reptiles and amphibians that operate spontaneously, in synergy with human agriculture, to maintain a healthy and parasite-free environment. The interstices become their home and hiding place. The dry stone walls, with the spontaneous vegetation that grows between the stones or close to the walls themselves, constitute an important ecosystem. In their correspondence a particular microclimate is created, favorable to Mediterranean plants that can thus, thanks to the greater availability of water, overcome the summer crisis.
In particular, with regard to this last aspect, the project “L’Orto dei Tu’rat" – Storia di un’acqua spremuta dalla pietra” is worthy of note, part of the cultural/agricultural/ecological park in Ugento (Lecce). “L’Orto dei Tu’rat currently extends over an area of 16,000 m2, and is a type of barrier/drainage of very ancient origins, dating back to about 9,000 years ago and adopted in the Middle East. Since 2008, an apparently banal construction, modeled with dry stone in the shape of a crescent and arranged in such a way as to capture the humid south-west winds in its concave part, has caused the water contained in them to condense on its sloping surface. For the agricultural populations of the Mediterranean areas characterized by desert climates, with significant temperature variations from day to night, it was an effective irrigation system for the vegetation grown immediately at its feet. It is an excellent example of bioclimatic architecture, which exploits passive phenomena, avoiding the waste of non-renewable energy.
Even in the tourism sector, dry stone walls play a crucial role in preserving the authenticity and charm of the Salento landscape, acting as a magnet for visitors looking for a genuine experience. These ancient structures, which dot the territory with their rustic elegance, offer a glimpse of local tradition and culture, attracting tourists eager to explore and appreciate the pristine beauty and rich history of the region. Dry stone walls not only visually enrich the landscape, but also evoke a sense of continuity and connection with the historical roots of Salento, making each visit a journey through time and an immersion in the authentic culture of the territory.
The dry stone walls in Salento are much more than simple stone structures; they represent an authentic symbol of resilience, ingenuity and creativity of local communities. These structures, born from the expert hands of artisans who worked
with stones collected from the fields, are witnesses to a thousand-year-old tradition that has been able to adapt and thrive through centuries of historical and social transformations. From their ancient origins, when they served to delimit the land and manage natural resources, to the present day, dry stone walls have been able to maintain their function and their charm intact. Each stone, laid with care and precision, tells a story of adaptation and harmony with the environment, reflecting the ability of local populations to respond to the challenges of time without compromising their essence.
"Ogni petra azza parite" (every stone contributes to building a wall), or "Every stone has its own story", is a Salento expression that encompasses the essence and profound meaning of stone structures. This dialect phrase, steeped in popular wisdom, does not limit itself to describing a material aspect, but evokes a deeper connection between the stones and the stories they tell.
Today, as in the past, these walls continue to be much more than simple elements of the landscape: they are custodians of the historical memory and culture of Salento, uniting the past with the present and contributing significantly to the preservation of the identity and beauty of a unique territory. Their silent but powerful presence enriches the landscape, transforming it into a stage where history, culture and nature intertwine in a fascinating tale of resilience and continuity
Liberty Style in the architecture of Salento: a journey between elegance and innovation
Introduction
Salento, located in the south of Puglia, is a region of extraordinary beauty, renowned for its splendid beaches, rich cultural and culinary traditions, and its vast architectural heritage. Among the many influences that have shaped the local architecture, Liberty style, also known as Art Nouveau, occupies a prominent place. This style, developed between the end of the 19th and the beginning of the 20th century, has left a profound mark on the cities and villages of Salento, harmoniously blending decorative elegance and technical innovation.
Origins and Characteristics of Liberty Style
Liberty style was born in Europe between 1890 and 1910, as a reaction to the rigid canons of neoclassical architecture and growing industrialization. In Italy, the movement takes its name from the famous Liberty House in London, famous for its avant-garde furnishings and fabrics. Characterized by sinuous lines, floral motifs and an aesthetic that seeks to blend harmoniously with nature, Liberty stands out for the innovative use of materials such as wrought iron, colored glass and ceramics.
The Influence of Liberty in Salento
Salento, with its thousand-year history and strategic position in the Mediterranean, has always absorbed different cultural and artistic influences. Liberty architecture in Salento represents a meeting between local traditions and international trends of the time. This fusion is manifested in buildings that, while respecting traditional materials and construction techniques, introduce innovative decorative and structural elements.
Examples of Liberty Architecture in Salento
Lecce
Lecce, often called "the Florence of the South", is famous for its Lecce Baroque, but also boasts notable examples of Liberty architecture. One of the most representative buildings is Palazzo Tamborino, built at the beginning of the 20th century. Its facades are decorated with floral and geometric motifs, and the interiors feature elegant stucco and artistic stained glass.
Santa Cesarea Terme
Santa Cesarea Terme, known for its thermal springs, is another jewel of Liberty architecture in Salento. Here Villa Sticchi stands out, a palace inspired by Moorish architecture, characterized by domes, arches and polychrome decorations. Built in 1894, Villa Sticchi represents a perfect example of how Liberty could integrate with different architectural styles, creating a highly suggestive effect.
Nardò
In Nardò, a town rich in history and art, Liberty style can be admired in buildings such as Palazzo Personè. This building stands out for its richly decorated façade, where the floral details and sinuous lines typical of Liberty combine with the elegance of the local Baroque.
Santa Maria di Leuca
Santa Maria di Leuca experienced a period of great urban and architectural development between the end of the 19th and the beginning of the 20th century, when the nobility and upper middle class of Puglia began to build their summer residences along the coast. These villas, many of which in Liberty style, became symbols of elegance and refinement, transforming Leuca into an exclusive holiday resort. Among them we find Villa La Meridiana, Villa Mellacqua and Villa Episcopo.
Materials and Construction Techniques
In Salento, the Liberty style was able to adapt to the local environment, using materials such as Lecce stone, an easily workable calcarenite, which allowed for the creation of detailed and complex decorations. Wrought iron was widely used for gates, balconies and railings, often made by highly talented local craftsmen. Colored glass also played an important role, with windows and glass walls filtering light in an evocative way, creating plays of colors and reflections.
Living today in an Art Nouveau house
Our agency Mariano Immobili nel Salento is currently handling the sale of a prestigious property located in the heart of the historic center of San Cassiano, in the province of Lecce. It is an ancient stately home in Art Nouveau style, characterized by details of extraordinary beauty. The facade is embellished with a refined decorative parapet, while the entrance is adorned with a glass and wood door, full of elegant decorations in the same style. Inside, the polychrome cementine flooring adds a touch of color and refinement, making this home an authentic architectural jewel. With a careful and respectful renovation it will be possible to dive back into an elegant and refined style, without sacrificing the convenience of modern comforts.
Below is the link with a detailed description and photos of the property: https://www.apuliaproperties.com/immobile/historic-home-with-garden-for-sale-in-salento/
Conclusion
The Liberty architecture in Salento is a fascinating example of how an international artistic movement can integrate with local traditions, giving life to a unique and precious heritage. Through its elegant and innovative buildings, the Liberty style has enriched the urban and rural landscape of Salento, leaving a legacy that continues to enchant and inspire even today. Visiting these places means taking a journey through time, to discover an era of great cultural and creative ferment, which has been able to combine beauty and modernity in an absolutely unique way.
The fascinating historical journey of Palmento: from its origins to the present day
The origin of the vine
It is said that the vine appeared for the first time over 200 million years ago in various areas of the planet. Various fossils testify to the presence of the vine in the European areas where it is currently cultivated for at least a million years, especially in regions of Asia Minor (Caucasus, Mesopotamia), where winemaking also seems to have originated, dating back to 4100 BC. It was the Phoenicians who brought the vine and wine to Greece. Subsequently, the ancient Greeks colonized southern Italy (Magna Graecia), bringing the cultivation of the vine to the Peninsula. Viticulture was then resumed first by the Etruscans, then by the ancient Romans. The origin of wine as a drink certainly derives from the spontaneous fermentation of grape juices, later processed and codified in procedures that have been refined from generation to generation.
Wine in the Roman era
It is to the Romans that we owe the spread of the vine in almost all the territories of the Empire. Furthermore, we can trace the origins of modern oenology back to the Romans. A peculiar anecdote is the one referring to two terms from the Roman era. The word “vinum” which indicated a wine mixed with other products, such as honey, resins and water, therefore a non-pure wine. The second term instead was “merum” which was used to indicate pure wine, without any mixing. This word, unlike the first, is still used today only in the Apulian dialect. In fact, good wine is called “mieru”.
Wine from the Middle Ages onwards
The decadence of Roman civilization, culminating in 500 AD with the fall of the Western Roman Empire, brings us to the Middle Ages. In these years there were no or at least no substantial evidence of technical progress from an agronomic and oenological point of view. The use of wine in Christian rites, and the work of rewriting ancient treatises by monks, meant that the principles of oenology and vine cultivation were passed down until the Renaissance. It is mentioned in the floor mosaic of the cathedral of Otranto (from 1163-1165), in the panel of the month of August, where a farmer is depicted, holding a tool with a blade in his right hand and pressing the bunches of grapes already cut from a vine with his left foot in a container. With the months of September and October, the depiction of the cycle of grape cultivation and wine production is completed.
During the Renaissance, natural selection and the hand of man led to the definition of the territories most suited to viticulture.
The 19th century marked the birth of industrialized agriculture and brought notable progress also in the oenological field.
The first significant cultural transformation occurred around 1870 and continued with extraordinary intensity until the early 1900s: the vineyard area in Puglia went from 90 to around 300 thousand hectares.
The Palmento and the Production of Wine
The Palmenti are ancient wine production systems consisting of tanks dug into the rock, rectangular or circular in shape, connected by a hole, used both for pressing grapes and for fermenting musts. The name derives from the Latin palmes palmitis, vine shoot, or from paumentum, the act of beating, pressing.
The Salento palmenti of the Byzantine era were dug into the rock, and the grapes were crushed there. One of the most important examples of this type is found in Carpignano Salentino, in the locality of Stigliano.
Where there was no friable rock, the palmento was built in masonry, waterproofing the tanks. The grapes poured into the first tank, whose hole was blocked with clay, were pressed with the feet and left to rest there for a day and a night; then, after removing the cork, the must was allowed to flow into the second tank. Finally, the must was placed in wine amphorae.
On some of the palmentos, a cross of certain Byzantine origin is engraved, recognizable by the semifera with which the vertical arm ends.
The crosses could have been engraved by the Byzantines on palmentos previously excavated by others that they intended to use for their profitable winemaking activity, as attested by the remains of Magna Graecia wine amphorae, present on the Mediterranean coasts until the entire period of Byzantine domination.
Over the centuries, the progress of grape processing and wine production went hand in hand with the evolution of the structural characteristics of the palmento, and just as the grapes began to be processed through the use of presses, at the same time the palmento began to grow larger and become structurally more complex.
The evolution of palmenti over time
Palmenti were born as simple tools for the production of wine, that is, two small tanks in the open countryside, and over the centuries their shape and structure has been refined and expanded. We find palmenti dug into the rock, such as the palmento located in the countryside of Uggiano, consisting of an environment entirely dug into the rock, formed by a single large room with stone seats, a tank and a specific point for the location of the presses, accompanied by numerous crosses engraved in the rock, and the palmento located in Alessano located in the Macurano area, which accompanies the other rock structures present in the area.
With the evolution of the pajara (truncated cone-shaped trullo) and the advent of the liama or lamia, more complex agricultural activities arise compared to the olive harvest, linked to viticulture, the fig grove and the vineyard and as such it also lends itself as a seasonal home for the farmer, who uses it during the harvest period and moves the whole family there. In fact, the liama is commonly accompanied by a small oven for baking bread and roasting figs, while inside, not infrequently, there is also a cistern for collecting rainwater and a palmento for pressing grapes. Liame with oven and palmento are found especially near more fertile lands, between Acquarica, Presicce and the fiefdom of Ceddhe, where, near the liama, you can also find large blocks of limestone used as the base of the presses for pressing the grape paste. The Palmento Baroni, near the Chapel of the Madonna di Pompiniano, right on the route of the Via Sallentina, represents significant evidence of the presence of the vineyard on lands currently occupied by the olive tree. With a square or rectangular plan, with perimeter walls made of dry-laid stone, the liame are covered by a barrel vault and therefore more responsive to housing needs. Precisely because of this last characteristic, the liame and their palmenti have been the subject of renovations and recovery interventions in recent years, which have given rise to charming homes that embellish the Salento countryside.
Subsequently, with the agricultural and architectural evolution, it was the turn of palmenti annexed to Masserie or Casini, and this type of solution is very widespread in the countryside of Presicce. The most significant examples are the Casino Stefanelli, Casino Cazzato, Casino Sant’Angelo, Casina dei Cari, and the latter today, as in the case of many other structures, has been recovered and transformed into a luxury relais, a place where the annexed palmento finds new life and use. Moving to the countryside of Carpignano Salentino, in the locality of Stigliano, we encounter the Palmento Casina Villani, renovated in 1939, but built in the late 1800s, where a large part of the structure was occupied by the large palmento, with a star-shaped vault.
In more recent times, palmenti have also begun to be present in inhabited centers, both for the exclusive use of private homes, where they have become integral parts of the home with possible subsequent renovations, and for common use by the population. This last hypothesis is represented above all when we find large structures, real buildings used for wine production, made of tuff bricks and with typical star and barrel vaults. The most significant examples are found near Collepasso, where there is a large elevated palmento, which bears the date 1749, and on the outside it still preserves the "anchors" where the workers tied donkeys and horses with which they came here to work; while the other is present in Morciano di Leuca, where the public structure called "palmenti" is located, unique in its kind, belonging to a rural, historical and cultural heritage of considerable value. The structure has been publicly owned since 2005, and the municipal administration has carried out a radical renovation of the premises, thus preserving a very important example of proto-industrial archaeology of the territory. The structure of the Palmenti and the annexed Vano del Torchio is located within the historic center, and belonged to the adjacent Palazzo Bitonti.
This has allowed, in modern times, that the typologies of palmenti just described can be recovered, renovated and converted into real housing units.
Palmenti, even if nowadays they are no longer used for their original purpose, are still a living and active part of the architecture of Salento, they are testimonies of a very ancient era, but still alive in the present.