Salento that marks time: the history and beauty of clocks
In the beautiful land of Salento, rich in history and traditions, clocks are not just tools to measure time, but authentic testimonies of the past. For centuries, towers and bell towers adorned with majestic dials have marked the rhythm of daily life, representing a deep connection between the land and its communities. Crafted by skilled watchmakers or integrated into extraordinary architectures, these clocks reflect a cultural heritage that combines functionality, beauty, and historical memory.
Through a journey to the most iconic places of Salento, we will discover how these timepieces tell stories of ingenuity, art, and identity, linking the past and present in a timeless narrative.
The clockmaking tradition of Salento stands out for its unique ability to combine the art of measuring time with a profound sense of territorial identity. In addition to the monumental clocks that decorate towers and churches, Salento has seen the rise of skilled watchmakers, including Giuseppe Candido, an emblematic figure in the art of watchmaking in Lecce.
Giuseppe Candido, active between the 19th and 20th centuries, was one of the most famous watchmaking craftsmen in the region. His craftsmanship and innovation left an indelible mark on the city of Lecce, where he created clocks that became true symbols of the city.
Candido was also distinguished for creating public and tower clocks, which not only served their function of telling the time but also enriched buildings with ornamental details and complex mechanisms. His works were the result of a perfect synthesis between mechanical functionality and aesthetics, reflecting the Baroque style of Lecce and the Salentine craftsmanship tradition.
In the splendid Piazza Sant'Oronzo in Lecce, stands a tower with a majestic clock, known as the "Clock of Wonders." Created in 1955 by the watchmaker Francesco Barbieri, this work
represents a blend of modernity and Baroque tradition, with details that evoke astrology, tarot, and Salentine symbolism. Despite the passage of time, the clock was recently restored and regained its former splendor, once again shining as one of the most significant symbols of the city.
The civic tower of Nardò, with its precision clock, has regulated the life of the community for centuries. The clock is not just a timepiece, but a true testament to the ability of Salentine watchmakers to merge technique and art. It is one of the most significant examples of the history of watchmaking in Salento.
Located in the main square of Galatone, the tower houses a clock that has marked time for generations. This structure is a symbol of a deep connection between the city's historical past and its clockmaking tradition, continuing to serve as a point of reference for the locals.
The bell tower of the Cathedral of Sant'Agata in Gallipoli is an important landmark of the city, and inside, it houses both
a clock and a sundial. The clock, located on the bell tower's facade, has marked the time accurately for centuries and is a fundamental part of the city's life. The sundial, also part of the tower, is an ancient instrument that measures time through the shadow cast by a gnomon on the surface below, serving as a reminder of traditional methods of observing the passage of time. Both instruments, the clock and the sundial, represent not only the functionality and ingenuity of past times but also a symbol of Gallipoli's history, where the measurement of time merges with the city's religious and cultural tradition.
The clock at the municipal headquarters in Maglie, located on the facade of the main building of the town hall, is a highly valuable historical and symbolic element for the city. This clock, which has marked the time for decades, represents an important point of reference for the local community. Its location, easily visible from the main square, makes it a symbol of city life and the Magliese tradition. The clock not only serves its practical function of measuring time but is also integrated into the historic architecture of the town hall, contributing to defining the identity of the place. Like many public clocks in Salentine cities, the one in Maglie is a testament to the city's evolution and the central role of the town hall in the daily life of the community.
The clocks of the Civic Towers of Galatina and Noha are historical and cultural symbols of their respective communities. The clock of the Civic
Tower of Galatina, built in the 14th century, has marked time for generations, becoming a visible landmark from the city. Similarly, the clock of the Civic Tower of Noha, located in the district of Galatina, is a central element in the life of the village, tied to local tradition and history. Both clocks continue to witness the passage of time and represent the connection to the past of the Salentine communities.
In Poggiardo, the bell tower of the church hosts a clock that has always been one of the distinguishing features of the town. Like the other clocks of the Salentine towers, this clock has marked the lives of the residents, setting the rhythm of the days and holidays. Its prominent position and precision mechanics make it a symbol of local tradition.
The clock of the Civic Tower of Casarano stands tall over the main square, uniting the history of the city with its community spirit. For centuries, the clock has marked the life of the people of Casarano, becoming an emblematic element of the city. The tower, with its clock, represents a connection between the past and the present, a symbol of continuity for the community.
The clock of the Carpignano Tower, located on one of the medieval towers of the town, is another example of the Salentine clockmaking tradition. For generations, its sound has marked the beginning and end of the day, becoming a symbol of the bond between the people of Carpignano and their history. The Serrano Tower also hosts a clock that has been part of the daily life of the small community for generations. Like the other public clocks of Salento, this clock represents an integral part of the local tradition and continues to keep the memory of the past alive, marking the passage of time with punctuality and precision.
The monumental clocks of Salento are not just tools but authentic symbols that unite the past, present, and future. Their beauty, combined with technical precision and the skill of local artisans, makes these works a heritage that deserves to be preserved and enhanced. Each clock tells a story of art, culture, and ingenuity, linking the Salentine community to its history and traditions.
Whether it’s a tower overlooking a square or a clock adorning a historical building, each mechanism represents a chapter in the history of Salento, written with the skill of clockmakers like Giuseppe Candido, whose work continues to live through these extraordinary clocks that mark time with elegance and mastery.
What to do in Salento in December: Christmas and New Year’s eve between traditions and natural beauty
Located in the far south of Puglia, Salento is a region rich in history, culture, and natural beauty. While it is renowned for its breathtaking beaches in summer, in winter it transforms into an enchanting place where traditions, flavors, and spirituality blend to offer unique experiences. Visiting Salento in December, during the Christmas season and New Year’s celebrations, means immersing yourself in a magical atmosphere of lights, markets, folkloric events, and stunning landscapes. Here’s what you shouldn’t miss.
Christmas Lights and Markets
In December, Salento’s villages come alive with artistic illuminations adorning squares and narrow streets, creating a fairytale-like ambiance. Lecce, known as the “Florence of the South,” is especially enchanting with its Christmas decorations highlighting its baroque monuments made of Lecce stone, such as the Duomo and the Basilica of Santa Croce. Christmas markets are abundant, offering handcrafted goods, festive decorations, and local culinary specialties. Among the most notable are the markets in Maglie, Nardò, and Gallipoli.
The Tradition of Nativity Scenes
Salento is renowned for its long-standing tradition of nativity scenes. In particular, the living nativity scenes are a must-see event. Among the most enchanting is the one in Tricase,
considered one of the largest in Italy, set in the natural park of Monte Orco. Here, hundreds of actors in period costumes recreate the Nativity in natural settings that evoke the Palestine of two thousand years ago. The nativity scene in Specchia is also worth visiting, with its artistic representations meticulously crafted in every detail.
Another distinctive feature of Salento's tradition is the papier-mâché nativity scenes. Lecce is famous for this art form, which has ancient roots. Local artisans create detailed and lifelike figures using techniques passed down through generations. These nativity scenes can be admired in churches, museums, and dedicated exhibitions, such as those organized at the Carlo V Castle in Lecce. Visiting a papier-mâché nativity scene means discovering a unique art form that tells stories of faith and creativity.
Folkloric Events and Christmas Concerts
December is the perfect month to discover the popular traditions of Salento. Among the most anticipated events are sacred music concerts and Christmas carols, often organized in baroque churches. Additionally, the pizzica, the traditional dance of Salento, enlivens various festivities, bringing warmth and cheer even on cold winter evenings.
Food and Wine: The Flavors of Salento’s Christmas
You can’t visit Salento without savoring its unique cuisine. During the holiday season, Salento’s tables are filled with traditional dishes such as pittule (savory fritters, which can be plain or stuffed with ingredients like salt cod, cauliflower, or sun-dried tomatoes), purceddhruzzi (fried sweets dipped in honey and decorated with colorful sprinkles), and cartellate (thin fried pastry sheets drizzled with vincotto or honey). In local restaurants and trattorias, you can also enjoy dishes featuring the freshest fish and other specialties from the region’s culinary tradition.
Walks and Nature Hikes
The mild climate of Salento in December allows you to fully enjoy its unspoiled nature. Ideal destinations for a walk include the Le Cesine Nature Reserve, the Costa Otranto-Santa Maria di Leuca Regional Nature Park, and the Tricase Forest. The coastlines, with their cliffs and deserted beaches, also offer breathtaking views. Don’t miss a visit to Punta Palascìa, the easternmost point of Italy, where you can watch the sunrise over the sea.
New Year's Eve in Salento
Celebrating New Year's Eve in Salento means choosing from a variety of events, from street parties to traditional festive dinners. Lecce, Gallipoli, and Otranto are the liveliest cities, offering live music shows, fireworks, and lots of fun.
A symbolic event is the "Alba dei Popoli" (Dawn of the People) in Otranto, a cultural celebration that marks the arrival of the new year with concerts, theatrical performances, and the eagerly awaited sunrise on January 1st, visible from the Adriatic coast.
Practical Tips for Visiting Salento in December
Clothing: Although the climate is mild, it’s advisable to bring warm clothes, especially for the evenings.
Accommodation: Take advantage of off-season offers to stay in masserie, B&Bs, or hotels at more affordable prices.
Transportation: It is recommended to rent a car to comfortably explore the villages and natural areas.
Conclusions
Salento in December is the perfect destination for those seeking an authentic Christmas, rich in traditions and set against a unique landscape. From living nativity scenes and genuine flavors to cultural events and breathtaking views, this land enchants in every season, making the Christmas holidays and New Year’s Eve unforgettable.
The Winter Magic of Salento: The Fòcara of Novoli and the Rite of the “Good Fire”
In the heart of January, the province of Lecce comes alive to celebrate an event of extraordinary cultural and religious significance: the Feast of Saint Anthony the Abbot, a deeply rooted tradition in the town of Novoli, in northern Salento. This event is a melting pot of history, legends, popular traditions, and devotion, culminating in a unique and spectacular blend.
Who was Saint Anthony the Abbot?
Saint Anthony the Abbot, who lived in the 3rd century AD, was a wealthy Egyptian heir born into a Christian family. He chose to
renounce all material possessions to live in the desert in poverty, dedicating himself to prayer and contemplation. Other men who sought to follow his example gathered around him, forming a community of hermits. The saint, who lived to the age of 105, is invoked as the protector of animals and those afflicted by the plague, partly due to the many legends surrounding him. One of the most famous tells of a sick piglet healed by the saint, which became his inseparable companion.
The figure of Saint Anthony the Abbot is closely associated with fire, a symbolic element of purification and renewal. According to legend, the saint descended into hell to confront Satan and steal fire to give it to mankind. This connection with fire is reflected in the tradition of bonfires, which are lit on the night of January 17th to burn away the past year's evils and welcome the new year with positive energy. The Fòcara of Novoli, the largest bonfire in the Mediterranean and Europe, is the emblem of this tradition.
The Fòcara: Between Rural Art and Modernity
For over three centuries in Novoli, the Fòcara has been skillfully built by the pignunai, expert craftsmen who use approximately
100,000 bundles of vine trimmings collected during vineyard pruning. This monumental structure, over 25 meters tall and about 20 meters in diameter, is the result of the efforts of one hundred volunteers working together for weeks. At the top of the structure, an effigy of the saint is placed, which burns during the lighting, accompanied by a captivating fireworks display.
The Novoli festival takes place from January 16th to 18th and includes the traditional lighting of the Fòcara on the evening of January 16th. This moment is preceded by the intorciata procession, during which the statue of the saint is carried through the streets of the town by the faithful. The square fills with thousands of people who gather to witness the burning of the wooden structure, an event symbolizing hope and renewal. The atmosphere is enriched by Salento folk music and the spectacle of the fasciddre, sparks that create an enchanting “rain of fire.”
Over time, the shape of the monumental pyre has also evolved, becoming increasingly imposing and majestic. However, what
takes place in the village just outside Lecce is an ancient, propitiatory rite that stretches back into the mists of time. In fact, scholars are still searching for its origins—its “zero date,” so to speak.
According to some sources, the Fòcara was first lit in 1905, when “a heavy snowfall blanketed the bonfire on the eve of the celebration.” What is certain is the fame of the world’s largest “good fire,” which lights up and warms the night of January 16th. Its renown has surpassed the borders of this small village of just over nine thousand residents, becoming increasingly national and cosmopolitan.
The Feast of Saint Anthony the Abbot is much more than a religious event. Over the years, it has transformed into a true cultural and tourist attraction. With over 80,000 spectators annually, “The Days of Fire” serve as a gathering point for the agricultural community, an opportunity to promote local food and wine, and a means to highlight the Negroamaro Park.
The Fòcara of Novoli has been recognized as an element of intangible cultural heritage by the Region of Puglia and aspires to be included on UNESCO’s list of Intangible Cultural Heritage of Humanity. Over the years, internationally renowned artists have contributed to making this event even more extraordinary with artistic installations that have enriched the town’s cultural heritage. Among these are notable installations created
for the Fòcara, such as Mimmo Paladino’s papier-mâché horses, Ugo Nespolo’s colorful numbers, Hidetoshi Nagasawa’s concept of an external wooden spiral culminating at the top of the bonfire, symbolizing a peak reaching toward the universe and uniting Western and Eastern cultures, and Jannis Kounellis’s installation of a cross made with large stones and numerous iron lances placed on the Fòcara.
These and many other artists have donated signature posters of their works, further enriching Novoli’s cultural repositories, such as the “Pinacoteca di Arte Contemporanea” (Contemporary Art Gallery) and the “Museo del Fuoco” (Museum of Fire). Other notable figures, including Letizia Battaglia, Juliano Lucas, Edoardo Winspeare, Emir Nemanja Kusturica, and Tony Gentile, along with many others, have elevated this event to exceptional levels, both religiously and economically and culturally.
In January 2020, during the traditional Fòcara of Novoli, the Baronial Palace hosted a contemporary art exhibition. The display featured works by internationally acclaimed artists with the aim of creating a dialogue between modern art and local traditions. The exhibition enriched the Fòcara’s cultural program, emphasizing the importance of contemporary art within the context of popular celebrations.
Conclusions
The Feast of Saint Anthony the Abbot in Novoli is a unique event that seamlessly combines tradition and modernity. The Fòcara is not just a symbol of devotion but also a vessel of culture and identity for the entire community. Participating in this celebration means immersing oneself in a world of stories, legends, and traditions that reflect the most authentic soul of Salento.
Castrum Minervae: the archaeology of Salento conquering the present and abroad
In the enchanting town of Castro lies one of the most extraordinary legacies of Greek and Roman civilization in Italy: the Sanctuary of Minerva, also known as the Athenaion. This legendary site, described by Virgil in the third book of the Aeneid, blends myth and history, culture and spirituality, creating a synergy that recounts centuries of devotion and encounters among Mediterranean peoples. Thanks to archaeological excavations conducted over the last two decades, Castro has regained its prominence as a crossroads of stories, legends, and art, attracting scholars, tourists, and enthusiasts from around the world.
The Connection with Virgil and the Myth of Aeneas
In the Aeneid, Virgil offers a poetic and symbolic depiction of the Sanctuary of Minerva: a temple situated on a promontory, glimpsed by Aeneas and his companions as they seek refuge after the fall of Troy. That promontory, identified by archaeologists as the site of Castro, was not only a guide for sailors but also a spiritual and cultural gateway to Italy. According to the myth, Minerva, the goddess of wisdom and strategy, was venerated here by the Trojans, who saw her as a symbol of hope and renewal.
The port of Castrum Minervae, overlooking the Strait of Otranto, was crucial for maritime routes connecting the Adriatic to the Eastern Mediterranean. This location was not just a landing point but also a crossroads of cultures: from the Greeks to the Messapians and finally the Romans, each civilization left its mark, transforming the sanctuary into a unique center of worship and commerce.
Excavations and Extraordinary Discoveries
The rediscovery of the sanctuary was made possible by archaeological excavations initiated in 2007 under the direction of Professor Francesco D’Andria. These investigations uncovered a treasure trove of invaluable artifacts: fragments of ceramics, votive instruments, altars, and, most notably, monumental statues that confirmed Castro's importance in antiquity.
Among the most fascinating finds is a bronze statuette of Athena, unearthed in the early years of the excavations. This statuette, adorned with a Phrygian helmet, symbolically connects the sanctuary with the Trojan myth. The original Messapian settlement, influenced by the 
Spartan colony of Taranto, likely predated the Roman renaming of the area as Castrum Minervae. The ancient name of Castro, Lik, is corroborated by the so-called Soleto Map, a black-glazed shard featuring the oldest Western geographical map from classical antiquity, now housed in the National Archaeological Museum of Taranto.
However, it was the discovery of a monumental bust of Athena in 2015 that established Castro as an internationally significant archaeological site. Originally standing over three meters tall, the statue was crafted from Lecce stone, a material typical of Salento known for its easy workability and durability.
In addition to these discoveries, fragments of other statues, including marble feet and decorated bases, were found alongside an altar dating to the 4th century BCE, evidencing animal sacrifices made in Minerva’s honor. These artifacts, along with ceremonial tools and ivory objects, tell of intense religious activity spanning centuries.
The Sanctuary of Minerva: A Beacon of Culture and Spirituality
The Sanctuary of Minerva was not only a place of worship but also a symbol of cultural integration. Its strategic position, on a promontory overlooking the sea, made it a landmark for sailors and merchants and a destination for pilgrims from across the Mediterranean. Recognizing its sacred significance, the Romans incorporated the sanctuary into their network of temples, restoring and enriching it with architectural and artistic elements.
The statue of Athena, in particular, is an extraordinary example of Greek art and its influence in Salento. Scholars believe it to be the work of Tarantine sculptors renowned for their expertise in monumental art. The use of Lecce stone also confirms the presence of a highly skilled local network of artisans capable of creating works of great beauty and complexity.
The Museum and the Future of the Archaeological Park
Today, the artifacts unearthed in Castro are preserved in the Archaeological Museum of Castro, housed in the Aragonese Castle. This museum offers visitors a captivating journey through the centuries, showcasing votive artifacts, statue fragments, and a reconstruction of the statue of Athena. In 2019, a replica of the statue was featured in the international exhibition “Gifts of the Gods. L’Apulia Felix between Greeks, Natives, and Romans” in Nanjing, China, earning acclaim and bringing global attention to Salento.
The site’s future is equally promising. With regional and national funding, the archaeological park in Castro will soon be accessible to the public. Visitors will be able to walk among the ruins of the sanctuary and immerse themselves in its history, guided by multimedia paths and virtual reconstructions that recount the sanctuary’s life during the Greek and Roman periods.
A Heritage to Discover and Preserve
The Sanctuary of Minerva in Castro serves as a window to the past, a place where myth and reality converge to narrate Salento's history as a crossroads of cultures, religions, and peoples. Thanks to the relentless work of archaeologists and institutional support, this site continues to yield discoveries and inspire new research. Visiting Castro today means embarking on a timeless journey, rediscovering the roots of a land that has always stood as a bridge between East and West.
HyperRegionalism: Lecce between layers of history and futuristic visions
In October 2024, Lecce hosted the thirteenth edition of “Architects Meet”, an event conceived by AIAC (Italian Association of Architecture and Criticism), in collaboration with the Municipality of Lecce, the Polo Biblio-Museale and the Order of Architects PPC of Lecce. The theme chosen for this edition, “HyperRegionalism”, materiality and immateriality of Architecture”, explored a contemporary trend that contrasts global homogeneity with a rooted and recognizable architecture, capable of combining technological innovation and local tradition.
The concept of “HyperRegionalism” is based on a new balance between traditional and advanced technologies, with a particular focus on sustainability and energy efficiency. As
underlined by the architectural critic and historian Luigi Prestinenza Puglisi, president of AIAC, the theme represents a response to standardization: “We recover significant fragments of pre-existing structures to create a dialogue between old materialities and new immaterial flows.”
The days of the event saw the involvement of architects, critics and designers from all over Italy and abroad, who shared projects emblematic of this vision.
Lecce, chosen for its unique architectural heritage, was the ideal setting for the event. The main venues, including the Teatro Paisiello, the Biblioteca Bernardini and the Church of Santa Maria di Ogni Bene, hosted conferences, exhibitions and meetings, creating an immersive experience for participants.
Manuel Aires Mateus, an internationally renowned Portuguese architect, received the International Award “Architects Meet in Lecce 2024”. During his lectio magistralis at the Teatro Paisiello, he illustrated the restoration project of Torre 67 in Alezio, an example of how the recovery of the past can coexist with sustainable contemporary design.
Along the dry stone walls of a narrow country lane in Southern Salento, you reach Torre67, Mateus’s first project in Puglia. The tower, with a square plan and structured on two levels, rises in the heart of the rural area of Alezio (Lecce). Immersed in a landscape of crops, vineyards and wild flowers, two olive trees marked by Xylella welcome the entrance, like columns that evoke the memory of a now lost landscape. Built between the 12th and 14th centuries, initially intended for sighting purposes, the tower has undergone several transformations over time, maintaining traces of religious symbolism. Today, thanks to the rigorous restoration work of the Portuguese studio, the tower returns to its original form.
The restoration, completed in 2024, was based on the enhancement of the historical value of the site, with the aim of returning the tower to its original structure. The intervention involved the elimination of additional bodies and highlighted the tuff walls and the original openings. A radical approach, given that the tower is not constrained and that part of the demolished structures have not been rebuilt, but reused to create new components: the swimming pool, with a shape that replicates the tower, and the paths in the surrounding landscape.
The building was transformed into a residence for two clients from Milan who chose to live in Puglia. The living area is on the ground floor, while on the first floor there is a bedroom, a bathroom and a small office. All the rooms are characterised by traditional vaults and floors in cocciopesto, beaten tuff and travertine, while the walls are finished with lime and hemp. The choice to fully preserve the structure, the use of local and natural materials for the furnishings and the absence of air conditioning and heating systems are the most radical aspects of the project. The thermal inertia of the walls and natural ventilation partially compensate for the lack of cooling and heating systems.
This transformation represents an example of slow, almost monastic living, which distances itself from the frenetic pace of modern life and rediscovers values of the past, not only aesthetic but also linked to direct contact with the territory.
The project is part of a particularly current context in Puglia, where many historic buildings are being restored and transformed into homes or accommodation facilities, also thanks to the support of regional funds. In this region, the design rooted in the territory, which preserves historical memory, contrasts with the growing demand for comfort and high energy performance, a theme that was the subject of discussion during "Architects Meet” in Lecce.
The event was enriched by two exhibitions curated down to the smallest details:
- “HyperRegionalism”, curated by Riat Archidecor, presented over 100 projects by Italian studios, enhancing the relationship between historical pre-existences and innovative architectural solutions. The installation
was composed of wooden tables, then handcrafted with an ecological decorative paint in different shades of color, supported by some very essential iron elements. The tables hosted about 140 notebooks, each of which illustrated a project created by an architectural studio. The theme of the exhibition is Hyperregionalism: to an architecture without a soul, the same in all places, today we try to contrast spaces that are rooted and recognizable and constructions in which the material plays a leading role.
- “Supermostra 24”, curated by Ilaria Olivieri and Luigi Prestinenza Puglisi, an observatory and a traveling exhibition explored the work of 33 emerging designers, with the aim of verifying how much interest is happening in the field of architecture in the different regional areas of the peninsula, inaugurating the “STELO” exhibition system, an innovative project of the Polo Biblio-Museale of Lecce.
With over 600 registered attendees, “Architects Meet 2024” ended with an extremely positive balance. “We have laid the foundations for a profound reflection on the future of Italian architecture,” said Prestinenza Puglisi. The event transformed Lecce into an international capital of architecture, consolidating its role as a point of reference for contemporary architecture and for the dialogue between tradition and innovation.
The theme of HyperRegionalism, which explores an architecture in harmony with the local context, focused on the specificities of Salento, such as the use of Lecce stone and carparo. These materials were valorized as examples of sustainability and architectural innovation.
With an international participation of over 300 professionals and scholars, the event strengthened the visibility of Lecce and Salento, positioning them as a cultural and tourist center for architecture.
The event confirmed Lecce as a laboratory of architectural innovation, combining historical memory and contemporaneity. These annual meetings, if continued, will further consolidate the identity of Salento as a model of sustainable development based on the valorization of its unique resources.
Salt and Identity: the white thread that connects past and present
Salt, a substance that has accompanied humanity since the beginning, is more than just a seasoning: it is a universal symbol, a link between tradition, history, and culture. Always essential in daily life and sacred rituals, salt has profoundly influenced the evolution of civilizations, assuming both practical and spiritual meanings.
An ancient and valuable resource
Since ancient times, salt has been considered a valuable commodity. In ancient cultures, such as the Roman one, it was so important that it was used as a form of currency. The term "salary" actually derives from the practice of paying Roman soldiers with salt, a resource essential for food preservation and survival.
The Via Salaria, one of the oldest Roman roads, attests to the centrality of salt in the Empire's trade routes. This element, with its ability to preserve food, also symbolized incorruptibility and eternity. Its spiritual connotations are found in many cultures: in Christian rituals, it represents purity and covenant, while among Eastern peoples, the "salt pact" symbolizes a lasting and sacred agreement.
Salt in popular culture
Language and popular traditions reflect the importance of salt in everyday life. Expressions like "avere sale in zucca" (to have salt in the head) or "un conto salato" (a steep bill) evoke intelligence and value. In fairy tales and folk stories, salt becomes a recurring symbol. In Salento, for example, there is the story of the fisherman and the little fish named Salt, who, with cunning, proves to have more "salt in his head" than his captor.
The very name of Salento could also be linked to salt. According to a legend, the term comes from King Sale, a mythical ruler of the Messapi, an ancient people who inhabited these lands before the arrival of the Greeks and Romans.
Salt production: between ingenuity and resistance
Throughout history, salt production has often been regulated by the State. In Italy, the salt monopoly marked entire eras, leading to the persecution of those who tried to produce it illegally. The coasts of Salento, with their cliffs and natural cavities, were the site of ingenious but illegal production. Even today, along the coastal road between Gallipoli and Santa Caterina, traces of these improvised salt pans can still be seen, symbols of a daily struggle for survival.
The Salt Routes: between nature and history
One of the most fascinating examples of the connection between salt and the land is represented by the Salt Routes in Salento. Located near Corsano, these ancient roads, bordered by dry stone walls, once connected the salt collection ponds on the coast with the inland towns. Today, these paths represent a heritage of extraordinary natural and historical beauty.
Along the main paths, such as Nsepe, Scalapreola, and Scalamunte, visitors can immerse themselves in an untouched landscape, between the Mediterranean scrub and the crystal-clear sea. Walking on these ancient routes means traveling back in time, rediscovering the traces of a past that has shaped the identity of the land.
The Salina dei Monaci of Torre Colimena
Another extraordinary example of the connection between salt and the landscape is the Salina dei Monaci of Torre Colimena, located on the Ionian coast. This place, now a protected nature reserve, is a unique ecosystem where history and nature coexist harmoniously.
The name "Monaci" comes from the Benedictine monks, who, starting from the year 1000, transformed this area into a salt factory. Seawater would deposit during storms in a natural depression beyond the dunes, providing a reserve of what was once considered white gold, salt. To improve its exploitation, the monks carved the rock to create a channel for regulating the flow of water, and they built structures for processing and storing the salt, along with a watchtower and a frescoed chapel dedicated to Our Lady of Mount Carmel. Between the late 1800s and the 1940s, land reclamation efforts were proposed to address the malaria problem, which was particularly widespread here. Fortunately, the interventions were minimal and did not compromise the salt pans and their landscapes.
Starting in the 1960s, the salt pans were subject to heavy real estate speculation and uncontrolled tourist development. Dunes and large areas of Mediterranean scrub were destroyed, the groundwater was contaminated, and the salt pans were even used as a summer football field. In addition, the harmful presence of poachers exacerbated the situation.
The following years marked a turning point, with a new environmental awareness and the commitment of institutions leading to protective interventions in the area and the establishment, in 2000, of the Torre Colimena Salt Pans Protected Area, which was included in the list of Italian protected areas in 2010.
The warehouses form a complex with barrel vaults and three rather spacious rooms (measuring 25×8 meters). The chapel is located a few dozen meters from the warehouse complex and still retains its original vault, with frescoed walls. The tower has a square base and a truncated pyramid shape.
Today, the reserve is an ideal habitat for rare species, such as the pink flamingos, and is surrounded by a lush Mediterranean scrub. The adjacent beach, with its golden dunes, adds to the charm of this destination, perfect for those seeking beauty and tranquility.
A heritage to preserve
Salt, with its millennia-old history, continues to be a valuable resource, symbolizing tradition, culture, and a connection to nature. The traces left by its use and production, such as the Salt Routes and the salt pans, represent an invaluable heritage that deserves to be cherished and protected.
Tourism and Infrastructure Development in Salento 2024: Deseasonalization and the Benefits for the Real Estate Sector
The Salento, a region in southern Apulia known for its crystal-clear sea, golden beaches, and remarkable local culture, continues to see steady growth in the tourism sector. In 2024, off-season tourism policies and investments in infrastructure have created new opportunities to extend the tourist season beyond the traditional summer months. This transformation not only brings economic benefits but also has a positive impact on the real estate market, creating new investment opportunities. Let’s take a closer look at tourism data, off-season initiatives, major non-summer events, benefits for the real estate sector, and ongoing infrastructure projects.
Tourism Data in Salento in 2024
In 2024, tourism in Salento reached new records, with a 15% increase in arrivals compared to the previous year. Growth is evident not only in peak summer months (June, July, and August) but also in shoulder periods like April, May, September, and October. This achievement was made possible by a strategy focused on showcasing the region even in less hot months, leveraging cultural, culinary, and natural aspects that attract a target of tourists interested in an authentic and diverse experience.
Visitor Origin and Profile
Most visitors come from Italy, but Salento also attracts foreign tourists, particularly from Germany, France, the United Kingdom, and the United States. Visitors are typically between 25 and 50 years old, looking for a blend of relaxation, culture, and outdoor activities. New air connections and an increasing availability of services even outside the peak season have helped boost the region's appeal.
Tourism De-seasonalization: A Strategic Shift
De-seasonalization is a key strategy to make Salento a year-round destination. This policy enables the distribution of tourist flows over a longer period, easing pressure on the summer months and creating new income opportunities for local businesses. De-seasonalization not only enriches the tourism offering but also improves the quality of life for residents by creating stable jobs and supporting the local economy.
Off-Season Events in Salento
To encourage de-seasonalization, several events have been organized to attract visitors in autumn and spring:
- San Martino Festival (November): A popular event celebrating new wine paired with typical Salento gastronomic products, with village fairs and festivities.
- European Film Festival of Lecce (April or November): An event that draws film enthusiasts and professionals from across Europe, featuring screenings, workshops, and artist encounters.
- Salento Coast to Coast (May): A bike touring event through the villages of Salento's inland areas, offering a slow and sustainable tourism experience.
- Corti a Sud (October): A short film festival held in the historic villages of the region, involving young talent and cinema enthusiasts.
- Autumn and Spring Markets and Food Festivals: Culinary events in inland villages that promote local products like extra virgin olive oil, cheese, and cured meats.
Benefits of De-seasonalization for the Real Estate Sector
Tourism de-seasonalization has had a positive impact on the Salento real estate market, making the area attractive for both national and international investors. Here are the main benefits:
- Increase in Demand for Vacation Rentals and Short-Term Lets: With year-round tourism, the demand for vacation rentals has grown, not only in summer but also in spring and autumn. Property owners can thus rent their properties for longer periods and earn a steady income instead of relying solely on the summer season.
- Growth in Property Value: Properties in tourist locations or near historic villages are seeing increased value, as demand is driven by both tourism and the arrival of new residents. Moreover, improved infrastructure, such as new rail connections, enhances the value of properties near stations or major roads.
- Opportunities for Restoration of Historic and Rural Properties: De-seasonalization is encouraging the restoration of ancient farmhouses, "masserie," and "trulli," transforming them into accommodation options that cater to tourists seeking authenticity. Investors are rediscovering Salento's real estate heritage, converting historic buildings into B&Bs, agritourisms, and luxury vacation homes.
- Extension of the Rental Season: The ability to attract visitors year-round allows property owners to maintain high occupancy rates even outside peak season, boosting profitability.
New Infrastructure: Improved Railway Connections and Road Networks
To support tourism and enhance mobility, Salento is undergoing significant infrastructure projects, including the rail connection between Brindisi Airport and Lecce Station and the completion of the State Road 275.
Brindisi Airport – Lecce Railway Connection
One of the main obstacles for tourists choosing Salento is the lack of a direct connection between Brindisi Airport and Lecce, the gateway to the Salento peninsula. The new rail link project aims to address this gap, with shuttle trains connecting domestic and international flights arriving in Brindisi to the city of Lecce in under 30 minutes.
This connection will reduce the use of private cars, improving accessibility in Salento and promoting sustainable tourism. For international travelers, the convenience of a direct connection will make it easier to reach Salento, enhancing the region’s appeal to visitors from around the world.
Completion of the State Road 275
The State Road 275, also known as the “Maglie-Leuca,” is another key infrastructure to improve Salento’s road network. This long-awaited project involves the expansion and redevelopment of the road, which connects numerous towns and facilitates access to Capo di Leuca.
The realization of the State Road 275 will not only reduce travel times and traffic congestion but also allow for the distribution of tourist flows across the territory, improving accessibility to more remote locations. Additionally, this infrastructure represents a step forward for road safety, providing a more modern and secure communication route.
Conclusion
Thanks to de-seasonalization policies, off-season event organization, and infrastructure investments, Salento is establishing itself as a quality tourist destination capable of attracting visitors year-round. The growth in tourism and new opportunities in the real estate market signal a positive and sustainable development for the region.
The real estate sector directly benefits from this change, with an increase in demand for vacation homes and residential properties, growth in property values, and new investment opportunities in the restoration of historic buildings.
The Lecce Paper Mache: Art, Tradition, and Charm of Salento
The Lecce papier-mâché represents one of the most unique and fascinating artistic traditions of Salento. This ancient and lightweight art form arose from the need to decorate churches and sacred spaces without resorting to costly materials like marble or bronze. It was here that Lecce artisans, with their ingenuity and creativity, transformed paper into expressive sacred sculptures that became symbolic elements of the region
The Origins of Lecce Papier-Mâché
The art of papier-mâché dates back to the 17th and 18th centuries. The need to create sacred, evocative environments in churches without high costs inspired local artisans’ creativity. These papier-mâché pioneers used humble materials like paper, straw, cloth, and plaster, crafting sculptures capable of conveying extraordinary spirituality.
Local barbers, who devoted their free time to crafting sacred statues in the back rooms of their shops, were among the first to embrace this art. One of the earliest known masters was Mesciu Pietru de li Cristi, a barber renowned for making crucifixes, who in turn taught the craft to Mastr'Angelo Raffaele De Augustinis and Mesciu Luigi Guerra.
Over time, Lecce papier-mâché has been passed down through generations, enriched by techniques and secrets that still make this tradition unique. Lecce’s artisans have kept this art alive, allowing it to evolve while preserving its historical and symbolic value.
Techniques and Secrets of Papier-Mâché
Creating a papier-mâché statue is a meticulous process that begins with shaping the support structure, made by wrapping straw in twine to form the sculpture's core. Hands, feet, and the face are sculpted separately in terracotta and then
attached to the main structure.
At this stage, the statue is covered with layers of paper, glued with a special flour-based adhesive with water and a pinch of copper sulfate to protect against pests. Once dry, artisans use small, heated spoons in a process called "fuocheggiatura" to shape and solidify the structure, giving it expression and realism.
Next, the statue is coated with plaster—often Bologna plaster—to prepare the surface for final coloring. Oil colors are applied, and precise details bring every expression and fold of the drapery to life. Some artisans even make their own “earth tones” (from umber, Siena, and cinnabar) according to ancient methods known only to insiders.
Its low cost and ease of production also made papier-mâché suitable for producing molds, copies, and affordable replicas. This accessibility, however, led to its long-standing classification as a “low-level” art form in the art hierarchy, often leaving it unpreserved despite its exceptional artistic potential.
However, this classification was challenged, notably by Vasari, one of the strongest proponents of the distinction between major and minor arts, who mentioned papier-mâché in his *Lives of the Most Excellent Painters, Sculptors, and Architects* (16th century). During the Renaissance, notable artists like Donatello experimented with the malleable, lightweight mixture, appreciating its expressive realism and softer form modulation, evoking deep introspection and spirituality.
After Donatello, nearly all renowned Florentine sculptors’ workshops dedicated themselves to replicating small and medium-sized papier-mâché reliefs. Popular subjects included Madonna and Child by Jacopo Sansovino, Desiderio da Settignano, Antonio Rossellino, and Benedetto da Maiano. The perfect blend of art and spirituality led to the large statues and decorations of Lecce’s Baroque style. Even today, the lightness of these statues allows them to be carried in the picturesque Holy Week processions, a major attraction in Puglia.
Papier-Mâché and Spirituality: The Papier-Mâché Museum
In Lecce’s historic center, the Papier-Mâché Museum celebrates this tradition with a collection of works representing centuries of history and devotion. Located in the Castello di Carlo V,
near Piazza Sant'Oronzo, the museum hosts around 80 artworks, offering visitors a journey through the evolution of this ancient technique.
Established in 2009, the museum has helped preserve and promote papier-mâché art, making it accessible to new generations and visitors from around the world. Walking through the museum's displays immerses visitors in Salento’s culture and history, unveiling the symbolic and religious significance of these sculptures.
Papier-Mâché Today: A Living and Renewing Art
Today, Lecce papier-mâché extends beyond sacred works, embracing a wide range of subjects and styles. Artisans continue to create nativity scenes, statues, and sacred reproductions, but their workshops also produce dolls, masks, interior decorations, and design objects. Papier-mâché has become a form of contemporary expression, capturing tradition while adapting to new aesthetics.
During the Christmas season, Lecce celebrates its craft tradition with the "Antica Fiera dei Presepi e dei Pupi" (Old Fair of Nativity Scenes and Puppets), known as the Santa Lucia Fair. This event, akin to Naples' famous San Gregorio Armeno, takes place between Piazza Sant'Oronzo and Piazza Duomo, where visitors can purchase papier-mâché works created by local masters. The fair provides a unique opportunity to experience the beauty of papier-mâché and enjoy Salento's holiday atmosphere.
During the holidays, the former Teatini convent on Via Vittorio Emanuele also hosts an exhibition of artistic nativity scenes. Here, visitors can admire works by master papier-mâché artists and their students, offering a glimpse into the passion and dedication that still drives this ancient art today.
A Journey to Salento: Discovering Lecce Papier-Mâché
Lecce and Salento, with their traditions and history, make an ideal year-round destination, especially in winter when the city comes alive with cultural events and Christmas markets. Strolling through Lecce's historic center is a unique experience, allowing visitors to immerse themselves in a rare baroque setting among churches, palaces, and artisan workshops.
A trip to Salento during the Christmas season is a perfect opportunity to discover papier-mâché art, admire the works displayed at fairs and museums, and purchase unique souvenirs to take home. Lecce papier-mâché is a true cultural treasure that, thanks to the dedication of local artisans, continues to enchant generations of visitors.
Halloween and the Ancient Traditions of Salento
Halloween is a celebration that originates from Celtic traditions, yet some of its customs have taken root in Southern Italy during the long Norman domination. What connects Halloween to Salento? Although this occasion with its eerie atmosphere stems from ancient Celtic traditions, not everyone is aware that in Salento and Southern Italy, similar rituals exist, influenced by the Norman period and ancient Christian traditions intertwined with pagan rites.
For the Celts, the night of October 31 marked the end of the year and the moment when Samhain, the Lord of Death and Winter, gathered the souls of the deceased, who briefly reunited with the living. To prevent evil spirits from entering the bodies of the living, villagers would extinguish the fires in their homes, only to relight them at nightfall to burn offerings and perform protective spells. For three days, the Celts wore animal skins to ward off unwanted spirits, a practice that influenced the modern tradition of costumes.
Similarly, the ancestors of Salento and Southern Italy engaged in rituals honoring the deceased from October 31 to November 2. In some areas of Southern Italy, gifts and sweets are still prepared for children, with stories that they were left by deceased relatives; in other places, tables are set for a dinner believed to be attended by the souls of loved ones. In various locations, bonfires made from broom branches are lit in public squares, and leftovers from dinners are left outside for the deceased.
The use of carved and illuminated pumpkins, a symbol of Halloween, also has Italian roots. But why is this tradition more closely associated with America today? The answer is simple: the United States is largely populated by descendants of Europeans, and the significant emigration from Southern Italy in past centuries carried many of these customs across the ocean. 
Traditions such as "trick or treat" are linked to Southern Italy and likely gained traction in America as immigrants, finding themselves in a Protestant society, felt the need to keep their ancient Catholic and pagan traditions alive.
Salento has a long-standing tradition of celebrations related to the dead that, in certain villages, bear a striking resemblance to Halloween rituals. In villages like Miggiano, Supersano, and Presicce, it was common to prepare banquets for the souls as a sign of hospitality. People would leave typical sweets, such as boiled wheat and "bones of the dead" cookies, outside their doors or on tables to welcome their deceased loved ones. Children were also given sweets as gifts.
Today, in some villages, like Zollino, the traditions for the Night of the Dead are still very much alive. Families prepare tables at home adorned with lit candles, food, and drinks to welcome the deceased. This practice not only honors the departed but also symbolizes the welcoming of their souls. During this time, a procession heads to the village cemetery, where candles are lit to illuminate the path for the souls.
In Martano, another vibrant tradition involves creating home altars in memory of the deceased, accompanied by moments of reflection and family meals featuring typical dishes such as boiled wheat and dried figs. The lights and decorative candles that adorn homes and streets evoke the modern illuminated pumpkins of Halloween.
In Specchia, one of the oldest and most picturesque villages in Salento, women still prepare pupurati, spiced cookies offered to children as a symbol of continuity between generations. In ancient times, bonfires were lit here to drive away evil spirits and protect the harvest, serving as a way to honor the deceased and maintain a connection to the spiritual world.
The Salento traditions related to the dead uniquely intertwine with the celebrations we now associate with Halloween. While Halloween has evolved differently elsewhere, in Salento, the celebrations on November 1st and 2nd continue to pass down rituals that connect the living with the deceased, in a night experienced as a moment of reflection, respect, and memory.
One of the most suitable places to host legends of witches and mysterious spirits in Salento is the area between Giuggianello, Giurdignano, and Minervino di Lecce, where ancient "natural monuments" endure, still living in collective memory. This territory, often compared to the famous Stonehenge for its dolmens, menhirs, and sacred stones, is rich in suggestive tales revolving around nymphs, old witches, and fairies known as "scazzamurieddhi." The local countryside, with its invaluable heritage, has inspired countless fantastic stories and fairy tales passed down through generations.
For instance, the Massi della Vecchia were the home of a witch called "la striara," who, at sunset, cast spells against those who dared to desecrate that sacred place. Anyone who dared to look her in the face was forced to jump endlessly, as an old nursery rhyme recounts: "Zzumpa pisara cu la camisa te notte…" ("Jump, witch, in your nightgown"), to which the victim responds, "se scappu de stu chiaccu nu nci essu chiui de notte" (if I escape this trouble, I won’t go out at night again).
In another version of the legend, aided by an ogre or her husband, the witch would turn into stone anyone who could not answer her questions. Many fell into her trap, lured by the promise of a hen that laid golden eggs, resulting in the area being scattered with rocks.
In this same region, tales speak of a challenge between young people and fairies. Once, farmers forbade their children from going among the large stones, saying that the "fairies," beautiful but dangerous creatures, could appear there.
In Uggiano, stories of witches abound, who, during the sabbat, would gather around a "walnut tree by the windmill." It is said that a local innkeeper, on a full moon night, left her husband alone to join them. When the man noticed the food and wine running low, knowing his wife’s secret, he went to the meeting place but mispronounced the formula and was lifted upside down into the air. His wife saved him by reciting a spell that made him fall, but since then, that tree has remained "secret" to avoid misfortune. It is said to be located near an ancient underground oil mill, but no one has ever been able to pinpoint its exact location.
In Soleto, on the other hand, it is said that the Guglia degli Orsini del Balzo, a fascinating tower adorned with monstrous figures, was built in a single night by Matteo Tafuri, a renowned philosopher and esotericist. For the feat, he allegedly summoned witches and spirits, but at dawn, some of them, surprised by the rooster's crow, were petrified in the tower.
Few may know that in Tricase, the so-called Chiesa Nuova (or Church of the Devils) was said to be the work of the Devil, who erected it in a single night after making a pact with the so-called "Old
Prince," traditionally identified as Messer Jacopo Francesco Arborio Gattinara, a real historical figure. According to legend, the events unfolded as follows: around the end of the 17th century, Messer Jacopo decided to support the numerous farmers working and living in the countryside (who wanted to drive away the Malobre, or evil spirits) by building a new church outside Tricase, on the way to the sea, which was historically completed in 1685, with an octagonal shape, dedicated to the Madonna of Constantinople. To this end—through the enchanted "Book of Command"—he thought to summon the Devil himself, with the secret intent of mocking him. The challenge proposed by the nobleman of Tricase was accepted by the Devil, on the condition that, within the same church, as an insult and mockery to God, the Old Prince would then offer the consecrated host to a goat, a symbol of Satan. For this commitment, in addition, the Lord of Darkness would leave a chest filled with gold coins in the Chiesa Nuova. Once the pact was sealed and the church erected, the morning after, the Devil reminded the Old Prince of his promise, which he denied ever having made. Feeling mocked, the Devil vented his rage by opening a water ditch near the church (known to the locals as the Canale del Rio) and throwing the church bells into it, which still seem to resonate with their deep tolls underground during stormy days. And what about the chest with the gold coins? The Old Prince had the opportunity to find and open it, but inside, it seemed, were insignificant coins made of base metal or even stones.
Lastly, the Grotta delle Striare in Santa Cesarea Terme, located along the cliff between Porto di Castro and Porto Miggiano, is a cave with an eerie atmosphere. Legend has it that witches gathered there to dance and brew potions. Those who venture into the cave speak of pungent odors and rocks carved into the shape of female hands with elongated nails, resembling those of a witch, particularly highlighted at sunset with the sulfurous vapors appearing to emanate from enchanted cauldrons.
Thus, while Halloween has Celtic roots, it finds a surprising affinity in the customs of Salento and Southern Italy, demonstrating how beliefs about the dead and rites of passage are widespread and have endured, in various forms, for millennia. This tradition continues to thrive in these lands, remaining apart from commercialization and staying true to a culture that celebrates this realm with respect and reverence.
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.