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 Court Houses of Salento: tradition, architecture and sociality
In Salento, the courtyard house stands out as a typical peasant dwelling, characterized by an open space, both common and private, with direct access from the street and surrounded by one or more housing units. This recurring housing
model in the Salento area originates from a basic module, usually a single rectangular room, positioned centrally within a lot and adjacent on one side, creating a corridor that connects the courtyard in front to the rear part intended for the vegetable garden.
The external spaces have a predominant importance compared to the internal ones. Although the vegetable garden was essential for the cultivation of the products necessary for the family, it is the courtyard that constitutes the heart of the house, conceived as a multifunctional environment used for work, storage, shelter for working animals and above all as a place for socializing, entertainment and leisure.
The origin
This housing model represents an evolution of the hut with a courtyard in front, initially poor single-cell constructions that later developed into "multi-cellular".
The origins of this particular building typology, commonly known as a courtyard house, are determined by several factors. It is a housing system that derives both from climatic and physical factors linked to the exploitation of the land, and from historical events that have left deep marks in this region. However, it is difficult to establish which of the two factors played a predominant role in its birth. It is likely that both contributed, together with the family organization, to determine the development of this particular housing form.
Evolution
In large centers, where economic conditions were less precarious, the basic typology of the courtyard house with a fence in front was joined by a more complex typology with more advanced space distributions.
In the evolution of this housing model, the living spaces were always raised above the ground and covered by barrel vaults, while the lower floors were used as cellars, stables, storage rooms and woodsheds.
The entrance to the open space of the courtyard is preceded by a covered carriage room called ‘sappuertu’ or ‘simportu’, large enough to contain the farm cart, the manger for the horse, the washing basin, the well and the cistern for drawing water. This room allowed the inhabitants of the courtyard, especially women, to gather to converse, sew, socialize, do the laundry or transform the products of the countryside.
Compared to the original model, the courtyards were enriched with a new element: the staircase. Made of stone and incorporated into the buildings, the staircase was only present in the upper part, so it was necessary to add a ladder to lean against the walls. This prevented outsiders from accessing the terraces, often used to dry food.
The staircase became a qualifying element, with massive round arches and several ramps that created surprising effects, representing an architectural element of connection between the privacy of the courtyard and the public road. Furthermore, in addition to accessing the terraces or the homes, the staircase also led to a typical architectural element of Salento: the mignano.
This element, a stage suspended above the driveway of the courtyard house, overlooked both the public road and the courtyard itself. The mignano, located a short distance from the arch of the entrance door, consisted of balconies supported by sturdy decorated brackets, often occupying the entire facade on the street.
The mignano, a legacy of ancient suspended stages or loggias, found its natural application especially in the Salento area, where the process of Byzantinization influenced culture and art. It allowed women to participate discreetly in the life of the city, offering an observation point without being seen.
Construction techniques and materials
Poor-quality materials and rudimentary construction techniques have accelerated the physical deterioration of the courtyard house, complicating its restoration and maintenance.
The facade of the house is extremely simple, with a gable that follows the slope of the gabled roof, where the channels for draining rainwater are located, usually made with limestone blocks arranged in parallel to adapt to the different levels of the roofs. Rainwater was then collected in enormous cisterns.
The facades of all the housing units, usually painted white, face the large open space of the courtyard uniformly, without highlighting the boundaries of the different families. The white walls, treated with lime, accentuate the contrasts and reflect the light.
The various wall structures and the roofs of the rooms also reveal the different eras in which the various cells were built. The more recently built rooms have vaults resting on sturdy pillars, while the original cells show the classic roofs with tiles.
The roof was made of a sub-base of reeds supported by wooden beams and covered with gabled tiles. Reeds were an ancient technique for creating sound-absorbent ceilings and roofs that were structurally robust and flexible at the same time.
As for the interior floors, they were made with slabs of very compact limestone, known as “chianche” (Cursi stone).
Structure and furnishings
The family nucleus resided in the simple courtyard house, consisting of a single room. A crucial element, located in the kitchen, was the fireplace with its smokestack, which not only represented the home fire, but also a symbol of family unity. Usually placed next to the entrance door, the fireplace was of considerable size, with a large base and an architrave decorated with floral motifs in bas-relief, becoming the main decorative element of the house.
The kitchen also served as a living room and workroom, as well as to welcome visitors. The beds, sometimes stacked during the day to save space, could be placed behind a recess in the wall. The bed plank was kept raised from the floor to allow the storage of agricultural supplies underneath it.
The door leading to the courtyard had a wooden frame and a circular hole at the bottom for the cat to pass through, while a window allowed natural lighting and ventilation. In the external garden, various domestic activities took place, such as grinding wheat, washing clothes, getting water from the well and drying agricultural products.
In the open space of the courtyard, there were accessories common to all families, such as the water cistern, the wash house called “pila” and the stone seats for summer evenings. Circular stone covers indicated the presence of dry wells called “fogge”, used to store wheat and cereals. Another element, although no longer in use, was the stompo, a cylindrical stone mortar for pounding durum wheat. Finally, the oven for baking bread was rarely present in the courtyard, since bread was generally baked in rustic ovens for public use.
Types of courtyard houses in Salento
The different types of courtyards in Salento reflect the variety and complexity of rural dwellings in the region. The most common is the “closed courtyard”, characterized by a single main entrance, a round-arched door, often equipped with a double-leaf wooden frame, which completely separates the courtyard space from the street. Other configurations include:
– “Open courtyard houses”, which form real urban complexes.
– “Private courtyards”, inhabited by a single family, often more affluent.
Looking more closely at closed courtyards, two main variants can be distinguished. The first type, more archaic, is mainly found south of Lecce, in areas where cereal agriculture dominated the economy and daily life. The second type is more complex and is typical of larger centers, where living conditions were better. Here, the rooms were higher and covered by vaults, while the lower floors were used as basements, cellars or stables. In these courtyards, staircases with several flights and the characteristic “mignani” often appear.
In Grecìa Salentina, especially in Martano, there are examples of courtyard houses similar to the Greek ones, with the courtyard in the center and the houses, stables and warehouses that overlook it. In some streets of Martano, as well as in the centers of Castignano dei Greci and Martignano, there are two residential cells of different sizes, side by side in the same courtyard, following the common pattern of "multi-family" houses. A notable example is the "Corte Grande" in Martano, with two primary cells arranged next to each other, which close two original uncovered passages
In Vernole, an entire neighborhood is made up of adjacent residential cells, with a front fence and a rear garden. This complex represents one of the most significant examples of Salento construction, with 51 family units ranging from the largest to the smallest families.
The role of the courtyard house
The courtyard house mainly serves the function of being a meeting and socialization point for the family. It is a clear example of how an element of aggregation is used collectively to guarantee survival resources, and is therefore respected and protected.
In addition to satisfying material needs, providing access to resources such as the well, the mill and the granary, the courtyard also responds to emotional needs. After a day of hard work in the fields, family members gather in the courtyard to tell stories, listen and socialize, thus trying to escape the isolation that characterizes rural life. It thus became a point of reference for families of the same social class, often united by kinship ties, gathering around the well and sharing daily activities, discussions and moments of meeting. Furthermore, the need for reunion between families arises from the desire to protect themselves from the dangers of the countryside and malaria, and to establish important social relationships for the recruitment of laborers in local markets.
The contemporary courtyard house
The courtyard house has recently been reinterpreted, highlighting a renewed interest in the enclosed domestic space. The courtyard, a symbol of individual isolation, represents a delimited portion of the territory, with its main facade facing inward and the external walls taking on a secondary role. The courtyard is not a completely open space, but rather a representative area with a large opening in the roof for ventilation and lighting.
The architecture of these homes seems to respond to the need to survive the anonymity and frenzy of modern metropolises. In recent years, the courtyard house structure has also been adopted in large urban agglomerations. The typical layout includes a central courtyard with balconies overlooking the internal walls, facilitating access to the housing units. However, the fundamental human characteristic is socialization, and in an age in which technology can lead to emotional distance, courtyard houses offer an opportunity for meeting and dialogue. The common spaces allow the inhabitants to interact, starting with a simple greeting that can evolve into a conversation and mutual knowledge.
Illuminating Guide: Exploring the Allure of Lighthouses
Lighthouses stand majestically guarding the seas, resisting even the worst storms, and have always captured the collective imagination. It is incredibly evocative to observe a lighthouse perched overlooking the sea from below. It tickles the idea of visiting it, climbing hundreds of steps to admire, once at the top, a breathtaking panorama that disappears into the horizon, where sea and sky merge.
Icons of Design and Architecture
Today many lighthouses are in disuse and have become artistic and cultural heritage to be preserved, works of architecture and ingenuity, some are true masterpieces, as lighthouses are not only useful navigation tools, but are also spectacular examples of design and architecture. From the majestic granite towers of European lighthouses to the elegant wrought iron structures of American lighthouses, each lighthouse carries with it a unique history and a timeless charm. Every detail, from the spiral staircases that climb to the top to the intricate gear systems that regulate the lamps, is a testament to human ingenuity and craftsmanship.
Historical Treasures
However, in ancient times, the safety of shipwrecked people and villages was entrusted to them and their guardians. In the event of attacks from the sea, they also served as coastal towers and the guardians, like sentries in outposts, were the first to be able to raise the alarm. Originally, lighthouses were simple bonfires or torches kept lit to signal landing areas.
There are testimonies that date back far in time that tell the myth of lighthouses. Virginia Woolf, in her 1927 novel “To the Lighthouse”, describes them as follows: «The Lighthouse was then a silvery, cloudy tower, with a yellow eye that opened suddenly and softly in the evening». Homer, in the 19th book of the Iliad (8th century BC), compares the flash of the shield of the great Achilles to "one of those fires that from the heights make the way safe for sailors".
Lighthouses become a true myth with the ancient authors. Ovid, in the "Heroids", a collection of 21 letters of love or grief imagined as written by famous heroines to their husbands or lovers.
When, in 1200, the Phoenicians arrived in the Mediterranean with the need to increase maritime trade, the need arose to extend the times of navigation even during the night. Thus, the construction of tower scaffolding was improvised along the coasts, where baskets with bonfires were positioned, guarded by men in charge of keeping the fire lit.
The first two wonderful lighthouses of antiquity date back to 300 BC. One of them is the Colossus of Rhodes, a gigantic bronze statue thirty-two meters high located at the entrance to the port of Mandraki. It represented the god Helios,
protector of Rhodes, who carried a lighthouse in his right hand. It remained guarding the island for sixty-seven years, before being destroyed by an earthquake.
The second lighthouse is the Lighthouse of Alexandria, which remained operational until the 9th century, before it too was destroyed by earthquakes. It was built to increase the safety of maritime traffic, which was made dangerous by the sandbanks at the entrance to the port of Alexandria. The lighthouse stood on the island of Pharos (Lighthouse), from which it takes its name. It consisted of a high quadrangular base that housed the staff's rooms and the ramps for transporting fuel. Above the base stood an octagonal tower, followed by a cylindrical construction surmounted by a statue of Zeus, later replaced by that of Helios. The construction of the lighthouse made it possible to signal the position of the port to ships during the day, with the use of special polished bronze mirrors that reflected the sunlight, and at night, with the lighting of fires. It is estimated that the tower was 134 meters high and visible from 48 km away. Given its usefulness, lighthouses began to be built in many other places in the Mediterranean.
Later, the Romans also spread the construction of stone towers with fire at the top throughout their imperial conquests. These towers were also adopted by the four Lordships of the Maritime Republics in Italy, located near the ports. After the collapse of the Roman Empire, the bell towers of monasteries built on top of rocks took on this function, especially in northern Europe. During the Renaissance and Baroque periods, wonderful castle-like lighthouses were built in France and England, at the entrance to the English Channel, located in the middle of the sea but not very functional.
Between the end of the 18th and 19th centuries, lighthouses took on the connotation we know today. The New York Lighthouse, donated by France to the United States and known as the famous Statue of Liberty, was the first lighthouse in the United States, operated by the American Lighthouse Service, and remained in operation until 1902. It was also the first lighthouse to be electrified, in the late 1800s.
Before the advent of oil and then electricity, the substances used to fuel the lighthouse fires were varied: wood, coal, spermaceti candles (the fatty material found inside the skull of sperm whales and which burns without producing smoke), whale oil and olive oil, depending on the latitude.
It can be said that, throughout the world, no two lighthouses are the same. Each has its own peculiar characteristics. Their external appearance serves to identify them from afar during the day, while at night their light sends distinctive signals: light - eclipse, eclipse - light, with a specific frequency that allows the structure to be recognized in the dark. In the portolans, the manuals that are carried on board and that indicate all the information about the coasts and their dangers, each lighthouse is described with its particular light.
The Sentinels of Salento
In the Italian peninsula, with a coastline of about 7,458 km, there are beautiful lighthouses with fascinating stories, many of which have become highly sought-after tourist destinations.
The region that boasts the most fascinating locations, as well as those most sought after by tourists, is Puglia, with the Punta Palascìa Lighthouse in Otranto and the San Cataldo Lighthouse in Lecce, considered the two most beautiful in Italy; and those of Santa Maria di Leuca and the island of Sant’Andrea in Gallipoli, renowned for their height, which are all part of Salento.
The Punta Palascìa Lighthouse
The Punta Palascìa lighthouse is certainly the most renowned, not only nationally but also internationally: it is one of the 5 Mediterranean lighthouses protected by the European Commission.
Built in 1867 on the remains of a previous watchtower, it is 32 meters high and stands on a rocky promontory, overlooking the sea, in the easternmost point of Italy, better known as Capo d'Otranto.
Sometimes, if you are lucky, you can even see the mountains of Albania in the distance, which make the breathtaking panorama even more magical.
The lighthouse, managed by the Italian Navy and used as a meteorological station, remained in operation until the 1970s, after which it was abandoned. Starting in the 2000s it underwent a restoration project; since 2005 it has returned to illuminate, with its light, the darkness of the nights of Otranto.
Inside, a spiral staircase composed of 150 steps leads to the top, where the jewel of the lighthouse is kept: its lantern. The latter comes directly from Paris and bears the signature of Augustine-Henry Lepaute, a favorite student of the famous French engineer Gustave Eiffel.
Built in 1884, it emits a light signal visible up to 18 nautical miles and until the 1960s it was powered by oil; now, however, a solar cell.
At the foot of the lighthouse, a structure that, for years, served as a home to those who were entrusted with the custody of the place, the guardians.
A short distance away, the Multimedia Museum of the Sea was also set up, inside which it is possible to discover the typical flora and fauna of the area.
The San Cataldo Lighthouse
What makes the San Cataldo lighthouse unique and priceless is the place that hosts it: an inlet ten kilometers from the city of Lecce, which preserves the remains of an ancient pier commissioned by the emperor Hadrian in the 2nd century AD and which, for this reason, took the name of "Porto Adriano", at the time when the city of Lecce was a Roman colony called 'Lupiae'.
Its current name, according to legend, derives from an Irish monk who, returning from Jerusalem, was shipwrecked in this area and miraculously saved himself. The lighthouse consists of an octagonal tower just over 23 meters high and a masonry structure that was originally intended to house the lighthouse keepers and a warehouse, today the seat of the local maritime office. Its light beam is visible up to 5 miles.
The construction of a lighthouse in San Cataldo was proposed in 1863 by the Provincial Council of Terra d'Otranto to the Ministry of Public Works. The first project was presented in 1865, and while waiting for the construction of the lighthouse, which was activated in 1897, a temporary lighthouse was installed on top of a municipal building.
The Lighthouse of Santa Maria di Leuca
The second tallest lighthouse in Europe is also octagonal in shape, and it is the imposing lighthouse of Santa Maria di Leuca, which with its 47 meters of height rises on the top of Punta Meliso, a few steps from the Basilica "de Finibus Terrae".
It was designed by the engineer Achille Rossi in 1864, where an ancient Saracen tower previously stood.
Its lantern, in operation since 1866, has a diameter of 3m, is made up of 16 lenses, of which 6 are free and 10 are obscured. These lenses project beams of white light visible up to 50 km away, alternating with beams of red light that warn sailors of the dangerous shallows of the Ugento sea.
Inside the structure there are 4 accommodations of which 3 are used by the lighthouse keepers and one is used as an inspection room, engine room and radio beacon room.
To reach the top of the lighthouse you have to go up a spiral staircase, composed of 254 steps. But once you have left the last step behind you, the view that you find in front of you makes you forget any effort: the blue of the sea that embraces the blue of the sky, and if you are a little lucky, the coasts of the island of Corfu and the mountains of Albania that appear on the horizon.
The Lighthouse of Sant’Andrea
Equally enchanting is the landscape that forms the backdrop to the lighthouse on the island of Sant’Andrea, an uncontaminated natural paradise of about fifty hectares just a few kilometers from Gallipoli.
46 meters high and lit for the first time in 1866, the lighthouse remained abandoned for many years; recently renovated, since 2005 it has resumed illuminating the Ionian waters with its lantern, capable of reaching a distance of 20 miles.
Only the sound of the waves of the sea breaks the silence that reigns on the island, today completely uninhabited.
The same sea that every night witnesses the awakening of these gentle giants, ready to watch over, each from their own position, the lives of those who find themselves, for one reason or another, sailing its waters.
About 46 meters high, the lighthouse on the island of Sant’Andrea is among the highest in Europe, although the low altitude of the island, which does not exceed 3 meters above sea level, can be misleading. Known since the times of the Kingdom of Naples with the Messapian name of Achtotus, or arid land, the island was named after Sant’Andrea in 1591, due to a Byzantine chapel dedicated to the saint.
At the foot of the lighthouse, a teeming universe lives undisturbed, without the cumbersome presence of humans. The approximately fifty hectares of land on the island, part of the Regional Natural Park of the Island of Sant’Andrea and the Punta Pizzo Coast, are home to colonies of wild rabbits and the elegant Corsican gull, which has chosen the island as its only nesting site in Italy, an arid and rocky landscape, but refreshed by the presence of rushes and glasswort. About a mile from the mainland, the island has a completely different and unique ecosystem, which allows it to offer shelter to storks and herons during migration and to be populated by shrimp and other molluscs in the many lakes that spontaneously infiltrate between the rocks.
A wonderful natural oasis, recognized as a natural habitat of community importance and identified as a protected natural area by a regional law of Puglia in 1997, classified as being of particular historical and artistic interest by the Ministry of Cultural Heritage and Activities.
Abandoned to the waves and storms until 2005, the lighthouse has been renovated but today no keeper lives there. The Gallipoli lantern is automatic and the island itself is not accessible or available for moorings and landings not previously agreed with the Port Authority.
Conclusions
In conclusion, lighthouses are not just historical monuments or simple navigation tools; they are symbols of human perseverance, architectural beauty and connection with the sea.
Through their imposing presence and fascinating stories, lighthouses continue to enchant and inspire those who visit them, offering a unique opportunity to discover the enchantment of the maritime world.
Discovering green gold: the incredible history of olive trees and oil mills in Salento
The Legendary Origins of Olive Trees in Puglia
Puglia, with its vast territory, is home to the most significant heritage of olive trees in Italy, with over 350,000 hectares dedicated to the cultivation of this precious tree, representing 25% of the region's useful agricultural surface. In the heart of this extension, the Lecce Salento shines with approximately 84,000 hectares of olive groves, which contain approximately ten million plants, of which 30% date back to centuries-old eras.
This olive richness has been recognized by UNESCO, which declared the olive trees of Salento and Puglia "heritage of humanity", a living testimony to the millenary history linked to the land. It is said that it was the Greeks who introduced this imposing plant to the region, linking its fate to mythological and sacred legends. The olive tree, sacred to the goddess Athena, according to legend, guaranteed Athens victory in a divine challenge, thus establishing its importance in people's culture and life.
Today, olive trees adorn the coats of arms of numerous Salento municipalities, as a symbol of their identity and history. Otranto, with its famous "Torre del serpe", preserves the image of the olive tree in its banner, perhaps to remember ancient legends or its importance in past maritime trade.
But the olive tree is not only a symbol, it is also the "green gold" that gives its precious olives, through which a precious and refined oil is produced. The tradition of oil production in Salento has its roots in history, with evidence dating back to 1300 BC.
The ancient Messapi can be considered among the first to introduce the cultivation of olive trees in Puglia, leaving a thousand-year legacy that is still reflected today in the ancient olive tree of Borgagne, dating back over 3000 years ago, and in the tradition of underground oil mills, true and its own jewels of industrial archaeology.
The “trappeto” and the workers
Most of the oil mills are dug into the rock: the oil trade, starting from the contacts that the populations of Salento had with the Byzantines in the 9th century, had almost completely replaced that of wheat, and therefore the "trappeti" were built precisely on the ruins of the granaries, which dated back to the "Messapian" age.
The environment of these mills gave the possibility of better conservation of the product and hid the processing phases and the "crew" from the view of enemies, as the group of workers in charge of the various processing phases, also called "trappitari", were called. and subjected to the supervision of the "Nachiro".
Throughout the period from November to the following May, the "trappitari" lived inside the oil mill, moving only during the holidays.
Inside the "trappeto" there were also animals, with their stables. Other areas of the "trappeto" were those that contained the "sciave", in which the olives were stored after harvesting and before pressing.
The wheel was turned with the help of a blindfolded mule and the crushed olives were finally pressed. Between the two operations the product was left to rest in the "fisculi". If we refer to the legends surrounding the "trappeti", we see that in addition to men and animals, in these places there were also the "aurochs" of the elves which the legend describes as annoying and mischievous.
The Recovery of the Underground Oil Mills of Salento: A Rediscovery of History and Tradition
An oil mill dating back to 1600 can be visited in Gallipoli. This is the one that is housed under Palazzo Granafei, right in the historic center of the Salento town.
Presicce, another locality in the Lower Salento, in the period from the 18th to the 19th century was known to all as the "underground city", precisely due to the presence of large numbers of underground oil mills. There is talk of 30 oil mills, all hidden beneath the main square of Presicce, in which the "lampante" oil was produced, which was subsequently exported to various European countries, but also served for local lighting. However, Presicce is a unique case in Salento and its characteristic is perhaps due to the presence of various surface aquifers in the area.
Other Salento centers with underground oil mills are Morciano di Leuca and Sternatia. In the first location there were around 20 oil mills, while in Sternatia there were 19, only one of which can be visited today. An underground oil mill currently being recovered is that of Noha, a hamlet of the municipality of Galatina and also in Vernole there is an oil mill from the 1500s, the Frantoio Caffa, which was renovated at the end of the last century after having "worked" until the early years of the '900. Among the other underground oil mills that can be visited we also find that of Specchia and that of Calimera.
Investing in the Heritage of Salento: A Unique Opportunity
The oil mills were not only attached to the ancient farms, but were widespread in urban centers.
Recently many of these oil mills have been recovered and renovated, and some have been made accessible to the public, and in others very suggestive structures have been created, from places for food and wine tasting to real spas.
Most of the oil mills were of underground origin, but a small part were above ground.
This last typology has allowed it to be recovered more easily by current architecture, and to become an integral part of the present, and to be used as real homes. These are buildings made of tuff stone, with typical star vaults, perfectly incorporated into the current town.
An excellent example is represented by the property that we offer for sale in Ruffano, a small but charming town in the lower Salento: https://www.immobilinelsalento.com/immobile/antico-frantoio-a-ruggiano/
Conclusion
The olive trees and underground oil mills of Salento are witnesses of a glorious past and a thousand-year-old tradition that continues to live on through the centuries. Through their restoration and valorization, these ancient places continue to inspire and fascinate visitors from all over the world, offering them the opportunity to discover the unique charm of Salento and its extraordinary history.
The real estate market in 2021
The real estate market in 2021
In February 2021 on this blog we tried to analyze the impact of the pandemic caused by the COVID 19 virus on the Italian real estate market, focusing in particular on the residential real estate market. A picture had emerged whose tints were less gloomy than expected, a 14% drop in overall transactions for the year 2020 was more than justified by the months of total lockdown, a slow recovery in the summer months of the same year. and again the decline due to the rise in infections and the consequent new restrictions contributed to creating a climate of partial confidence, conditioned by the outcome of the national vaccination campaign and the rebound of the general economic framework.
Now that over 80% of Italian citizens have received at least the first dose of the vaccine and the forecasts for the Italian GDP all travel around the value of + 6%, let's try to take stock of the situation again. To have an analysis as consistent as possible with that of last February, we will use the same sources, namely data from Istat, the Revenue Agency and Nomisma.
The general trend of the market
House prices rose in the second quarter of 2021: this is confirmed by the recent publication of the Istat Index, this rise in house prices is mainly due to the increase in the values of new homes (+ 2%), while existing house prices (+ 0.1%). But also on the sales front there is an expansion in volumes, especially in the residential sector, as reported by the Real Estate Market Observatory of the Revenue Agency.
The growth is therefore double and concerns both "the cost of the brick" and the market, as the Real Estate Market Observatory of the Revenue Agency always reports: between April and June of this year, sales in the residential sector increased by 73.4% compared to 2020 (the latter period, which obviously suffered from the restrictions and difficulties associated with the pandemic period). According to Nomisma, the forecasts for the residential market for the next few years are also consistent with the climate of improvement and confidence in progress. The sales, as mentioned, will return to around 600 thousand in 2021, to reach 651 thousand in 2023, recovering the forecast levels of 2019. Purchase intentions (in particular, the purchase of the first house or replacement of the same) they have therefore experienced a surge: from 2.4 million to 3.3 million families willing to invest in the real estate sector in the last year.
Also according to Nomisma, the interest of Italians is clearly shifting towards the purchase of a home, prevailing over renting. 62% of the demand (6 percentage points more than the previous year) is represented by people wishing to buy a house and the average age of buyers is less than 45 years. The remaining 38% is oriented towards leasing.
Another fact to take into account that emerged from Nomisma's studies is the change in the valuation practices of properties, for example, among various factors, the assessment of the energy performance of the property has acquired a predominant importance, in fact a general repricing due to energy redevelopment interventions, in alignment with the provisions of the Superbonus, which provides for the jump of two energy classes.
Smart working effect
A paragraph of our article from last February was titled the same way, given the evident impact of smart working on workers' habits during the pandemic, but is there still a "smart working effect"? Yes undoubtedly, but beware, as a study by Cushman & Wakefield, one of the largest private companies in the world real estate market, highlights, the future of offices will not be binary: we will not only work in the office or only from home, but a hybrid model will prevail. The office as we have known it to date will not die completely, but its role in the workplace of many will undoubtedly be different and office work will be less frequent than before the pandemic. It is therefore reasonable to predict that the "escape from the city" in favor of the countryside and the suburbs will be a trend in the real estate market for a long time to come.
Ecobonus
How is the measurement going? One year after the launch of the 110% Superbonus, again according to Nomisma's studies, it emerges that sworn interventions are growing, but not at the expected speed, especially due to regulatory uncertainty. In particular, there is a decrease in potentially affected families, compared to May 2020, and still a reduced rate of involvement of condominiums which, we recall, are the main realities for which the initiative was designed. For further information on the eco-bonus and other home bonuses, find other articles in our Blog section.