Salento Smart City: When Innovation Comes from the Earth
In the Heart of Southern Salento, a New Model of Territorial Regeneration, a new and innovative model of territorial regeneration is taking root in the heart of southern Salento—one based on co-design and the active participation of local communities. The experience of the Multifunctional Agricultural Park of the Paduli, a 5,500-hectare area stretching from Muro Leccese to Surano, and from San Cassiano to Supersano, stands today as one of Italy’s most emblematic examples of a rural smart city, capable of combining environmental sustainability, community welfare, and a culture of design.
Unlike hyper-connected metropolises, smartness here is embedded in the landscape, in agricultural know-how, in the capacity for networking, and in redefining the relationship between people and the environment. This is not a "smart city" in the digital sense of the term, but rather an intelligent territory—because it is co-designed: conceived, built, and transformed collectively.
Co-designing the Land: An Architectural Act
In this context, architecture transcends its traditional role as construction and becomes a tool of mediation between nature and culture. The regeneration of the Paduli is not only physical or infrastructural, but also social and symbolic. Each project—be it a community garden, a social oven, or a zero-kilometer school canteen—is an architecture of relationship. And as such, it is the result of co-design that centers around residents, real needs, and the memory of place.
The Park itself was not conceived through a top-down process but rather through a long, inclusive journey that began in 2003. Cultural associations such as LUA and Abitare i Paduli worked together with citizens, farmers, architects, educators, and local administrators. This dialogic approach gave rise to a living, changing, and open space, much like resilient cities.
Welfare and Landscape: Two Architectures of Care
The school canteens, agricultural workshops, and social cooperatives born from the Santi Paduli project (Santa Fucina and Benedetti Paduli) represent models of welfare rooted in the land—and at the same time, they care for the land.
There is a deep kinship between the agricultural act and the architectural gesture: both require attentiveness, intentionality, and the ability to read the context. Both are grounded in an ethic of responsibility. And in both, the community dimension makes the difference.
From Built Territory to Lived Territory
The Salento that resists depopulation and mass tourism does not do so through grand projects, but through small daily acts that restore meaning to lived space. Like the production of regenerative organic olive oil, collective wheat cultivation, or harvest festivals that blend work, music, and shared experience. Or the return of young professionals who choose to apply skills acquired elsewhere to imagine a new, inclusive, and creative agriculture.
These practices shape landscape—not only physical but cultural, human, and political. They form a kind of diffused architecture, capable of containing the urgencies of our time (ecology, inclusion, memory) within a territory that becomes a living laboratory.
A Replicable Model?
Santi Paduli is not a recipe, but a process. What makes it valuable beyond Salento is its methodology of co-design, based on:
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Listening to the territory
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Cross-sector alliances between public institutions, the social private sector, and active citizens
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Valuing both tangible and intangible heritage
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Participatory design as an ordinary practice
In an age of ecological and social crisis, rethinking the architectures of everyday life—starting from the margins, from small towns, from resilient communities—can offer new visions even for urban centers.
Because, ultimately, the true smart city is one that knows how to care for the future, without forgetting its roots.
Homes of the Future: How Technology is Changing the Real Estate Sector in Salento
The real estate sector is undergoing a revolution thanks to technology, and in Salento too, innovation is transforming the way we buy, sell and live in our homes. From eco-sustainable materials to smart homes, through virtual reality and artificial intelligence, the future of real estate is already here. Let's discover together how technology is redefining the concept of living.
1. Smart Home: Smart Homes for a More Connected Life
The homes of the future are increasingly smarter, thanks to IoT (Internet of Things) devices that allow you to manage lighting, temperature, security and energy consumption directly from your smartphone. In Salento, where the climate is a precious resource, home automation systems can optimize summer cooling and winter heating, reducing energy costs and improving living comfort.
Most popular technologies:
- Smart thermostats to adjust the temperature based on daily habits
- Smart lighting systems to reduce waste
- Digital locks and surveillance cameras for advanced security
2. Virtual Reality and 3D Tours: Remote Property Visits
Virtual reality is revolutionizing the real estate market, allowing buyers to visit properties without having to physically move. A huge advantage for those who want to buy a house in Salento but live far away. 3D tours offer an immersive experience, helping potential buyers to better evaluate the spaces before an inspection.
Our agency Mariano Immobili nel Salento has aligned itself with the needs of the market and, for its foreign or out-of-region customers, uses Matterport, an advanced system that generates high-definition virtual tours and 3D floor plans of the property. This technology allows buyers to explore every detail of the house comfortably remotely, ensuring a more effective and borderless purchasing experience. Below is an example taken from our portal: https://my.matterport.com/show/?m=kYSamj6M4qC
3. Sustainable Construction: Innovative Materials and Renewable Energy
The future of construction passes through sustainability. The new generation homes in Salento focus on low environmental impact materials, such as laminated wood (the energy used in the production process is much less than that needed to build homes in reinforced concrete or masonry, used above all for the construction of wooden roofs, gazebos, mezzanines, grills, windbreaks, fences and picket fences, shading, insulated and ventilated roofs, panoramic windows, false ceilings, platforms, etc.), and photocatalytic concrete (an innovative material that uses the natural process of photocatalysis to destroy pollutants before they even settle on the surface of the building), and on the integration of renewable energy systems (wind turbines, solar panels and photovoltaic systems, which exploit the energy of the wind and the sun, key elements of the territory, are very common in Salento).
But sustainability in Salento is nothing new: local architecture has always been based on the recovery and reuse of local materials. Lecce stone, for example, has been used for centuries in the construction of homes, palaces and churches, thanks to its abundance and ease of workability. Today this tradition continues, with projects that enhance the reuse of
existing materials to reduce waste and respect the environmental balance. Furthermore, for about ten years now, the extraction of Lecce stone from the quarries has been regulated with a specific regional law, aimed at offering stability to production, but looking towards the environmental recovery of the area concerned.
The recovery of "chianche" (the typical stone slabs used for flooring) and old wooden beams is also a widespread practice in sustainable renovations, allowing the historical soul of the homes to be maintained without sacrificing technological innovations. This approach not only preserves the identity of the area, but also contributes to more responsible and conscious construction.
Growing green solutions:
- Solar panels for energy self-sufficiency
- Rainwater collection systems to reduce waste
- Innovative thermal insulation to improve energy efficiency
- Recovery and reuse of local materials for construction and renovation
4. Artificial Intelligence and Big Data: The New Way to Buy and Sell Homes
Artificial intelligence algorithms are changing the way we search for homes. Platforms based on big data analyze thousands of ads and personal preferences to suggest the best housing solutions. This allows us to optimize time and costs, improving the purchasing experience.
Artificial intelligence is able to predict the trend of the real estate market, suggesting the best times to buy or sell. In addition, advanced chatbots and virtual assistants facilitate communication between real estate agents and customers, answering questions about prices, availability and features of properties in real time. Thanks to the analysis of big data, it is possible to obtain increasingly precise valuations of properties, taking into account factors such as location, market trends and local demand.
Modern platforms also use machine learning tools to personalize the search for properties, offering users targeted solutions based on their preferences and needs, making the purchasing experience smoother and more effective.
Conclusion
Technology is revolutionizing the real estate sector, offering increasingly smart, sustainable and accessible solutions. Even in Salento, these innovations are transforming the market, making the buying and selling of real estate easier, more efficient and safer.
The Roman Amphitheater of Lecce: A Treasure to Awaken
Lecce, nicknamed the “Florence of the South,” is a city that enchants with its dazzling Baroque architecture and the charm of its ancient stones. However, behind its image as the Baroque capital lies an even deeper and older history: that of Roman heritage. The recent unearthing of a buried portion of the Roman amphitheater, discovered during paving work in Piazza Sant’Oronzo, has brought this hidden gem back into the spotlight, revealing not only fragments of a distant past but also raising questions about the city’s future. This is not merely an archaeological recovery; it is about rediscovering Lecce’s identity, which, along with the archaeological site of Rudiae and other Roman treasures, positions the city as a cultural hub of global significance—a uniqueness comparable only to Rome.
Built between the 1st and 2nd century AD, Lecce’s Roman amphitheater is one of the most significant testimonies of Lupiae’s Roman era, the ancient name of the city. Its construction is believed to have been commissioned by Emperor Augustus as a gesture of gratitude towards a city that welcomed him during the civil wars. This structure, once capable of hosting between 12,000 and 14,000 spectators, was a vital center of public life, featuring hunting spectacles, gladiatorial games, and public ceremonies.
The amphitheater, now visible only in part, is a masterpiece of engineering. Its elliptical structure, carved directly into the Lecce stone bedrock, employed a blend of construction techniques: concrete work, squared stone blocks, and a sophisticated system of stairways to access the various sectors. The outer wall, originally composed of 68 arches, is now visible in only 24 pillars, yet it still conveys the grandeur of the work. Over time, the amphitheater was enriched, likely during the Hadrianic period, with a second-floor colonnade and carved reliefs depicting hunting scenes.
The amphitheater is not an isolated case: Lecce boasts a unique Roman heritage, including two theaters (one recently discovered in Rudiae), two amphitheaters, and two Augustan-era ports. This concentration of historical evidence makes the city a true open-air museum, capable of telling a millennia-old story that deserves to be experienced and fully appreciated.
The recent visit by Mayor Adriana Poli Bortone to Minister of Culture Alessandro Giuli marks a pivotal moment for the amphitheater’s future. During the meeting, the ministry confirmed the allocation of funds to continue excavations and make visible the monument's still-buried portions. Additionally, a technical committee, including experts such as Professor Francesco D’Andria, has been established to plan interventions aimed not just at preservation but at enhancing the entire site.
The ideas for the future are ambitious: innovative musealization plans propose using transparent materials or interactive markers to highlight archaeological traces, integrating them into the modern pavement. Augmented reality technologies could bring the Roman city back to life, overlaying it onto contemporary Lecce and offering visitors an immersive experience that uniquely connects past and present.
Enhancing the amphitheater poses significant challenges. Reopening excavations and expanding the visible area require reorganizing urban spaces, with solutions that minimize impact on the city’s daily life. Among the innovative proposals is a suspended bridge connecting Piazza Sant’Oronzo to Via Giuseppe Verdi, demonstrating how history and modernity can coexist harmoniously.
Discovered in the early 20th century through the studies of Cosimo De Giorgi, the amphitheater has been recognized as a national monument since 1906. Yet its full rediscovery could transform Lecce into a cultural and archaeological epicenter, increasing its international prestige.
An effective enhancement of the amphitheater and other Roman sites could represent a turning point for Lecce’s cultural tourism. Today known for its Baroque heritage, the city could broaden its appeal by emphasizing its Messapian and Roman roots. New tourist flows, drawn by innovative and diversified experiences, could contribute to a more sustainable economy centered on conscious tourism.
Projects like “Touch to Believe,” which make heritage accessible to the visually impaired through 3D miniatures, demonstrate how culture can be made inclusive, enriching the value of Lecce’s historical legacy.
The rediscovery of Lecce’s Roman amphitheater is not just an opportunity to bring a piece of history to light but a true call to action for the entire community. Lecce has the chance to redefine its identity, embracing its millennia-old roots and going beyond its image as the Baroque capital. As Mayor Poli Bortone stated: “It’s history, beauty. Courage: there’s no other way.”
A future rich in history and innovation awaits Lecce, ready to shine once more on the world stage.
The Fountains of Salento: discovering history through water
Fountains have a millennia-old history, rooted in the earliest human civilizations. Originally, they were simple structures designed to provide drinking water to communities, but over the centuries, they evolved into architectural and artistic elements of great significance.
The first documented fountains date back to the Mesopotamian and ancient Egyptian civilizations. These cultures developed techniques to channel water from rivers and natural springs to cities. In Egypt, royal gardens were often adorned with simple fountains, fed by channels that brought water from the Nile. In ancient Mesopotamia, fountains were an integral part of palace gardens and courtyards.
In ancient Greece and Rome, fountains were common in both public and private spaces. Roman fountains, in particular, were supplied by complex aqueduct systems that brought water from mountain springs to the cities. The fountains of Rome were often monumental, such as those in the Roman Forum, serving both as sources of drinking water and as decorative elements.
During the Middle Ages, fountains continued to be a common feature in European cities, often located in monastery courtyards and central city squares. In this period, many fountains had a primarily practical function, such as distributing drinking water or irrigating fields. However, in some cities, fountains also began to symbolize power and prestige, with elaborate decorations and religious sculptures.
In the Renaissance, fountains once again became highly valued artistic elements. Italy, in particular, saw the construction of numerous fountains that combined advanced hydraulic engineering and art. Renaissance fountains, such as those designed by Gian Lorenzo Bernini in Rome, were often adorned with complex sculptures celebrating mythological deities, historical figures, and symbols of power.
During the Baroque period, fountains became even more theatrical and dramatic. Large Baroque fountains were often characterized by high water jets and complex water displays. Iconic examples of this period include the Triton Fountain in Rome and the fountains of Versailles in France.
With the advent of the industrial era, fountains continued to evolve, becoming symbols of technological progress. Modern fountains often use advanced pumping systems and lighting to create water displays that attract visitors. Today, fountains can be found in almost every city in the world, from small squares to large urban parks.
In many cultures, fountains continue to symbolize abundance, purity, and beauty, remaining central elements in many public squares and private gardens.
Fountains in Salento
Although fountains in Salento are not as numerous as in other Italian regions, they represent significant elements of the local cultural and artistic heritage, often tied to practical and symbolic functions.
In this context, Lecce is the subject of a saying of Bourbon origin, known as "The city without fountains," reflecting the irony and paradox associated with a place famous for its Baroque architecture and numerous decorative fountains, yet with scarce water resources. Despite the presence of many fountains, they were not always operational in the past, or lacked a sufficient water source to keep them running.
It is essential to mention the legendary Idume River, a watercourse that mostly flows underground, passing beneath the city of Lecce and surfacing only in a few specific points. Its source is near the town of Surbo, north of Lecce, and the river continues its course until it flows into the Adriatic Sea. Historically, the Idume provided drinking water and was used to irrigate fields. However, due to its underground nature and the karstic character of the territory, the river has always been difficult to manage and control. With the urban expansion of Lecce and environmental changes, much of its course has been covered, and today the Idume is mostly hidden beneath the city. Additionally, the presence of this underground river may be one of the main reasons behind the saying "Lecce, fountains without water." The city's fountains, although artistically rich, often had water supply problems due to the difficulty of accessing the water resources of the Idume River, hidden beneath the surface.
Historical sources attest that the oldest fountain in Lecce dates back to 1498, followed by another fountain at the end of the 16th century, located in the current Piazza Sant'Oronzo, between the Church of Santa Maria delle Grazie and the Roman amphitheater. The structure consisted of a hemispherical stone basin supported by nymphs, with the city's civic emblem (a she-wolf walking and a holm oak tree crowned by five towers) rising in the center. Water spouted from the center of the oak, falling into the basin below and then into two concentric octagonal basins at the base, which rose slightly above the level of the square. The water supply was provided by a large well and a hydraulic machine with stone pipes, powered by animal force, which in 1678 also fed the new fountain by the renowned architect Giuseppe Zimbalo, which replaced the previous one. The new monument was dedicated to the reigning king, Charles II, represented by an equestrian statue, and remained active until 1841, when it was demolished. The pre-existing fountain was not destroyed but relocated to the park of the Orsini del Balzo Counts, where it remained until 1756.
But was there water or not? There was and wasn't. Each time they wanted to make the fountain spout water, it was necessary to activate the well's hydraulic machine with a horse or donkey to fill the reservoir, so the fountain remained dry for most of the year, except on a few solemn occasions.
Today, the most representative fountain of Lecce is the Fountain of Harmony (also known as the Fountain of the Two Lovers), erected in 1927, on the occasion of the arrival of the aqueduct in the city, in front of the Castle of Charles V. This work, built in Trani stone, features two bronze statues placed on organ pipes of varying lengths: a man and a woman, both nude, holding up a shell from which they both drink. The sculptor intended to celebrate a very important moment for the city of Lecce through the allegory of love and sharing.
Moving away from the capital, we find other notable fountains in the province, which have become recognizable landmarks and points of reference for the communities where they are located.
The first one is in Nardò, and it is the "Fountain of the Bull", created in 1930. It bears the symbol of the city: a bull that makes water spout. Legend has it that the city was founded where a bull made water gush from the ground. The bull is also a symbol associated with the Spanish Aragonese, who ruled southern Italy for a period and arrived in Nardò during the Renaissance. This was a time when historical and literary attention was focused on the classical era, and the theme of myth, in which the bull has significance and frequency, was revived. Next to the fountain is a medallion featuring the city’s coat of arms and the phrase "Tauro non Bovi." The presence of the bull rather than the ox represents the strength of Aragonese rule or perhaps of the Neretine population itself.
In Gallipoli, between the historic center and the newer part of the city, stands the "Greek Fountain". Initially, local tradition and some critics believed that the fountain dated back to the 3rd century BC. However, further studies found it more accurate to place the architectural work in the Renaissance period. From 1548 until 1560, it stood near the now-lost Church of San Nicola. Then, in 1560, it was moved to its current location next to the Gallipoli Bridge.
But the mystery of its origins persists: the style that created the fountain is that of Ancient Greek art, a culture that used myth as a form of expression. According to this theory, with the invasions of the Goths, the statues were removed and then reinserted into the structure in 1560. Whatever the true dating, the Greek Fountain still arouses great interest and curiosity today. The fountain consists of two facades, each about 5 meters high: one facing northwest and the other southeast.
The northwest facade serves as a support and dates back to 1765. On it stands the coat of arms of Gallipoli, featuring an image of a rooster with a crown and a Latin inscription that reads *fideliter excubat*, meaning "faithfully watches." Also prominently displayed are the insignia of King Charles III of Bourbon.
Below is a watering trough where animals would drink, and in the 1950s, water was drawn from here for families without access to it at home.
The southeast facade is divided into three blocks, flanked by four caryatids that support the architrave, which is richly decorated and about 5 meters high. In the three sections between the four caryatids are bas-reliefs depicting the metamorphoses of three mythological figures: Dirce, Salmacis, and Byblis, women transformed into springs.
The most spectacular fountain is the "Monumental Cascade of Santa Maria di Leuca". Universally considered one of the most beautiful in Italy, this work, of high engineering value, has adorned the town for over 80 years. It forms the final stretch of one of Italy’s most ambitious and important projects, the Apulian Aqueduct, currently the largest in Europe. The cascade was created to celebrate the successful completion of the project and was inaugurated in 1939. In 1927, the Grand Siphon was finally completed, bringing water first to Lecce and then to the main towns of Salento, eventually reaching Santa Maria di Leuca. Between 1931 and 1941, the construction of the peripheral branches completed this grand project, which is now nestled in a stunning landscape of cliffs overlooking the sea and a pine forest. An imposing structure, it boasts a length of over 250 meters and a drop of about 120 meters, with a flow rate of 1,000 liters per second, ending directly in the sea. On both sides, two long staircases lead from the square of the overhanging Sanctuary of Finibus Terrae to the end of the cascade, where a Roman column has been placed, and then to the port. The cascade is not continuously on display to curious visitors, tourists, and spectators; instead, it is activated infrequently, especially during the summer, both to allow for the drainage and discharge of water and to create a suggestive and fascinating spectacle.
Lastly, but no less important, are the "Apulian Aqueduct fountains". Every town in Salento has at least one. These are small public fountains, all identical (128 cm high, 38 cm circular base, conical shape, topped with a cap and a small basin for water recovery, entirely made of cast iron, intermittent jet tap with an internal brass mechanism, still handcrafted today). They represent the symbol of the Apulian Aqueduct, the historic little fountain familiar to many squares in Puglia and southern Italy, which, starting in 1914, brought the first clean public water to Puglia, and still today, it stands as the undisputed icon of this epochal social achievement. Over the years, stories and rhymed poems about the fountain have multiplied, creating a popular literature, often in dialect: "All’acqua, all’acqua, alla fendana nova, ci non tene la zita se la trova" (“To the water, to the water, to the new fountain, whoever doesn't have a fiancée will find one”), says an anonymous nursery rhyme from the 1920s, reflecting the unconditional affection that the people of Puglia have for this simple life-giving tool.
Fountains in Salento, though not as numerous as in other Italian regions, are still an integral part of the urban and rural landscape. Besides providing water, these fountains served and still serve as meeting places, venues for festivities and socialization, representing symbols of life and community. For tourists, the fountains offer an opportunity to immerse themselves in local history and appreciate the architectural beauty of the region.
Salento, with its combination of historical and modern elements, continues to value fountains as part of its cultural heritage, reflecting the region's rich artistic tradition and the vitality of its people.
The Ancient Dovecote Towers of Salento: Tradition, Architecture and Prestige
Le torri colombaie (o “colombai”) sono strutture architettoniche storiche progettate principalmente per ospitare e allevare i colombi e i piccioni, utilizzate in molte culture in diversi periodi storici. L’uso delle torri colombaie risale all’antichità. Strutture simili sono state trovate già presso le civiltà egizia e mesopotamica. Nell’antico Egitto, i colombi erano allevati sia per la carne che per le loro doti di volo come messaggeri. Anche nell’antica Roma, i colombi erano considerati un simbolo di status sociale e venivano utilizzati per scopi simili.
Nel Medioevo europeo, le torri colombaie assunsero una grande importanza, specialmente in Francia, Italia e Inghilterra. In molte di queste nazioni, le torri colombaie erano spesso collegate a castelli, monasteri e residenze nobiliari.
Francia: Le torri colombaie erano conosciute come “pigeonniers” o “colombiers”. Il possesso di una torre colombaia era regolamentato per legge ed era associato alla nobiltà. L’allevamento dei piccioni era un’attività preziosa sia per la produzione di carne, che come fertilizzante grazie al guano prodotto dai colombi.
Inghilterra: Erano conosciute come “dovecotes”, ed erano anch’esse segni di prestigio. Durante il Medioevo, solo i signori feudali avevano il diritto di costruire una torre colombaia, e spesso queste strutture erano progettate con pareti spesse per proteggere i colombi da predatori come i falchi.
Italia: In Italia, le torri colombaie sono frequenti nelle regioni rurali, e si legano alla tradizione contadina e alla vita agricola.
Tipica del paesaggio rurale sin dal medioevo, la torre colombaia era pensata per allevare columbidi. Tale attività aveva soprattutto scopi alimentari, data la capacità che questi volatili hanno di riprodursi anche sei volte l’anno e la considerazione in cui una volta era tenuta la loro carne. Ma queste bestiole erano allevate anche per addestrare i falchi da presa, come confermato da Federico II nel suo ‘De ars venandi cum avibus’. I colombi servivano pure a produrre guano, eccellente per concimare i terreni e, stante una sostanza a base di azoto contenuta, per conciare le pelli. E ancora più utili si rivelavano questi animali, già dai tempi degli Egizi e dei Persiani, per la capacità che possiedono –effetto di un innato potentissimo senso di orientamento – di spiccare il volo con un breve messaggio attaccato alle zampine, di consegnarlo a distanza anche di centinaia di chilometri e di ritornare infallibilmente alla base.
Le prime torri colombaie in Salento sono state create su resti di strutture di età messapica: ne è un esempio l’Ipogeo di Torre Pinta a Otranto, che nacque come insediamento messapico per uso cimiteriale, come testimoniato dai resti di un forno dove avvenivano le cremazioni e i sacrifici e dalle numerose nicchie lungo le pareti utilizzate per ospitare le urne cinerarie; successivamente fu convertito in colombaia[1]. Durante il XVII secolo, al di sopra dell’ipogeo fu innalzata una torre[2], anche per sopperire al crollo di parte della volta: anche questa fu adibita a colombaia, il cui massimo utilizzo fu durante l’epoca borbonica quando venivano allevati piccioni viaggiatori da impiegare nella Terra d’Otranto.
Ad Ugento, in località Cupelle, caratterizzata dalla presenza di antiche cave di pietra calcarea, troviamo nei vari affioramenti rocciosi, i segni di estrazione ancora visibili, che permettono di ipotizzare che i blocchi estratti, di notevoli dimensioni, siano stati messi in opera nella vicina cinta muraria messapica. In uno di tali affioramenti è stata scavata un’ampia colombaia rupestre, probabilmente di epoca medievale o moderna cui si accede da ovest mediante un’apertura larga m. 1 ca..
La colombaia, di pianta ovale, era destinata all’allevamento intensivo dei colombi e le nicchie, che accoglievano i volatili e che traforano tutte le pareti, disposte su otto file, sono a prospetto quadrangolare, con il lato superiore leggermente voltato. Verso est, un corridoio conduce all’esterno; lungo di esso, sul lato settentrionale, si apre un altro ipogeo. E’ chiamata “Grotta di Polifemo” per via della grande apertura circolare posta sul soffitto, che la fa assomigliare ad un grande occhio. Questo grande foro serviva per consentire l’ingresso ai volatili che nidificavano all’interno delle nicchie.
Monumentali torri colombaie a base circolare o quadrangolare attestano l’attività umanizzatrice che interesserà il paesaggio rurale salentino nel corso dei secoli. È intorno alle metà del Cinquecento che si costruiscono le più belle torri colombaie, nella stessa epoca in cui si registra in Terra d’Otranto il massimo sviluppo dell’economia agricola e il momento più significativo delle realizzazioni architettoniche in ambiente rurale. La loro diffusione storica sarà così massiccia che il toponimo Palumbaru identificherà intere località in diversi feudi dei borghi di Terra d’Otranto, proprio ad attestare la presenza di queste singolari costruzioni anche in aree dove ormai non ne rimane più alcuna traccia. Una presenza confermata anche dai documenti archivistici, dai quali emerge pure l’importanza dell’allevamento dei colombi, la disciplina che ne regolerà la caccia o la tutela, il ruolo che questi pregiati volatili avranno nell’economia delle nobili famiglie di Terra d’Otranto. Dell’allevamento dei colombi se ne occupò persino la regina Maria d’Enghien, che nel suo Codice dichiarava, quasi minacciosa “che nulla persona ausa occidere, o menare con balestra, oy con archi alli palumbi de palumbaro. Né pigliare dicti palumbi con riti, oy costule, excepto se fusse patruno. Et chi nde fara lo contrario cadera alla pena de uno augustale”. Concetto ripreso in toto nei Capitoli della Bagliva di Galatina (1496-1499), ma anche nei Bandi Pretori di Torchiarolo (1667) e Novoli (1716), dove si elencano le severe punizioni per chi cerca di catturare o uccidere i colombi allevati, che partivano da un minimo di 15 giorni di carcere. Tutto questo ci fa capire il grado di considerazione che aveva questo allevamento, ed il commercio che ne conseguiva. Commercio che girava nelle mani del nobile o del potente ecclesiasta proprietario terriero di turno. Soltanto nel 1789, con la caduta dei privilegi feudali ancora vigenti fin allora in Terra d’Otranto, i contadini acquisirono il diritto di uccidere i colombi che vedevano razzolare sui loro campi seminati.
L’edificazione di tali architetture è strettamente connessa ad una serie di fattori.
Valenza diplomatica: i piccioni viaggiatori permettevano ai regnanti di mantenere rapporti economici e doplomatici con tutto il bacino del mediterraneo, a partire da Venezia, sino a Castantinopoli. La posizione favorita del Salento nel Mediterraneo gli permetteva di essere un “fulcro comunicativo”, e proprio per questo il numero di torri colombaie è molto alto; ne sono state censite ufficialmente circa 200.
Valenza economica: nell’allevamento dei colombi, l’uomo sfrutterà le abitudini di questi volatili costruendo edifici particolarmente favorevoli alla loro nidificazione e, al contempo pratici e funzionali nella fase del prelevamento degli esemplari più giovani. Privilegio in epoche passate della nobiltà e del clero, la carne del colombo, infatti, per le sue particolari proprietà nutrizionali, sarà fondamentale nell’alimentazione di bambini, anziani e puerpere. Il valore economico delle torri colombaie non deriva però, soltanto dalla possibilità di poter allevare migliaia di colombi e quindi dalla grande disponibilità di carne pregiata, ma anche dall’enorme quantità di columbina che si accumula all’interno delle torri stesse. Oltre ad essere un ottimo fertilizzante, troverà vasto utilizzo nella concia delle pelli.
Valenza difensiva: le grandiose dimensioni di questi monumenti architettonici e la loro collocazione molto spesso isolata e in posizione appartata rispetto al complesso edilizio della masseria, non è certo casuale. Se già l’edificio turriforme della masseria ha la funzione di scoraggiare eventuali assalitori, un secondo edificio a forma di torre, dai volumi severi, viene concepito per suggerire l’idea di una ulteriore opera di difesa del territorio e quindi dell’insediamento. Si potrebbe così giustificare anche l’imponenza di queste costruzioni, soprattutto laddove il fabbricato della masseria si presenta con volumi modesti e privo di elementi per la difesa.
Valenza simbolica: oltre ad essere parte integrante della struttura economica della masseria, la colombaia diviene vero e proprio veicolo di comunicazione di uno status sociale. È proprio sulla colombaia che il proprietario terriero comunemente colloca il suo stemma, fa incidere la data della costruzione e ne sintetizza gli scopi della realizzazione.
Isolate o poco distanti dal complesso masserizio, altre volte inglobate in giardini chiusi, sono costruite secondo parametri ben precisi di larghezza ed altezza per favorire l’accesso dei colombi e per proteggere le nicchie dagli agenti atmosferici.Le tecniche di costruzione, storicamente codificate, prevedono un’altezza di poco maggiore alla lunghezza del diametro e ancora, come spiega il Milizia: “la loro altezza non vuole essere assai grande per non difficoltare ai genitori il trasporto del cibo ai loro parti; può stare dal duplo fino al quadruplo della loro larghezza. La capacità di questa camera deve essere mediocre; se è troppo ristretta, vi si concuoce tutto nell’estate; se è troppo grande, quei volatili vi soffron freddo nell’inverno: il suo diametro può essere da 16 fino a 24 piedi”. Le colombaie sono costruite in blocchi di tufo squadrati, prive di copertura e dotate di una sola apertura, raggiungibile con una scala a pioli, ad alcuni metri dal piano di campagna per evitare l’accesso dei predatori feroci; rampe di scale (da 7 ad 8) si sviluppavano lungo le pareti interne con andamento elicoidale, sporgenti come mensole dal parapetto murario; cordoli in rilievo si collocano al di sotto dell’apertura per ostacolare la scalata di rettili; merlature, cordoli a sbalzo, cornici aggettanti, oltre che avere una funzione decorativa, fungono da “appollatoi” per i colombi in uscita ed entrata dalla torre stessa. La tipologia a pianta quadrata è probabilmente una conseguenza del terremoto del 1743: in seguito alla distruzione di buona parte del patrimonio edilizio rurale, si avvia la ricostruzione anche delle torri colombaie con forme e tecniche più semplici. Si tratta in ogni caso di una tipologia legata ad epoche più recenti.
In particolar modo le masserie, con la loro ampia volumetria, permettevano di trovare anche soluzioni alternative più economiche rispetto alla classica torre, e spesso troviamo colombai inglobati nei loro strati murari, nelle loro corti interne, o in alcuni casi inseriti nella torre della stessa masseria.
La torre colombaia più grande del Salento è quella di Carpignano Salentino: con i suoi 12 metri di altezza e 62 di circonferenza, in agro di Carpignano Salentino, in zona Cacorzu, a due passi dal santuario dedicato a Santa Maria della Grotta, del ‘500, edificato sopra una cripta intitolata a San Giovanni Battista. E’ stata realizzata sul finire del ‘400 e poteva contenere all’incirca 5000 coppie di colombi, i quali avevano la possibilità di nidificare in altrettante cellette. Alla base una piccola porta, unico accesso alla torre se si escludono le piccole finestrelle dalle quali si intravede l’ipnotico gioco circolare di cellette, sovrastata dallo stemma degli Orsini del Balzo.
Una delle torri colombaie più antiche del Salento è quella appartenente alla Masseria Celsorizzo, situata ad Acqaurica el Capo. A trenta metri dal complesso masserizio di Celsorizzo è una torre colombaia, a pianta circolare, databile al 1550, come riportato dallo stemma gentilizio dei Guarini e dall’iscrizione posta sulla porta di accesso: FABRICIUS GUARINUS / HOC FRUCTUS AUCUPANDIQUA CAUSSA / CONSTRUXIT SIBI AMICISQUE – ANNO D.NI MDL. – “Fabrizio Guarino fece costruire questa colombaia per sé e per i suoi amici per diletto di caccia. Anno 1550”.
La torre colombaia è divisa esternamente in due livelli da un cordolo a superficie piatta. Un toro marcapiano cinge la torre a mezzo metro dal piano della campagna: a questa altezza nasce l’accesso all’interno della colombaia, interno realizzato con le buche per i colombi e le scalette con i gradini sporgenti dalle fiancate.
Uso attuale delle torri colombaie nel Salento
Oggi, le torri colombaie del Salento non sono più utilizzate per l’allevamento dei colombi come nel passato. Tuttavia, queste strutture hanno trovato nuovi usi, principalmente legati al turismo, alla conservazione e al recupero architettonico.
1. Recupero architettonico e conservazione
Molte torri colombaie nel Salento sono state restaurate e conservate per preservare la loro valenza storica e culturale. Grazie a fondi pubblici e privati, queste torri vengono salvaguardate come parte del patrimonio rurale della regione, evitando il rischio di abbandono o degrado.
2. Turismo e agriturismo
In alcuni casi, le torri colombaie salentine sono state riqualificate e trasformate in alloggi turistici o strutture legate all’agriturismo. In particolare, molte masserie che oggi fungono da agriturismi o bed & breakfast hanno restaurato le colombaie per offrire ai visitatori uno scorcio del passato rurale del Salento. Questi edifici, che rappresentano l’architettura tipica del luogo, vengono valorizzati come simbolo della storia e della cultura agricola salentina.
3. Usi culturali e artistici
Alcune torri colombaie sono state trasformate in spazi culturali o artistici. Ad esempio, in alcune località del Salento, torri restaurate ospitano mostre d’arte, eventi culturali o sono utilizzate come spazi espositivi per promuovere la cultura locale e le tradizioni salentine.
4. Conservazione della fauna
In alcuni casi, le torri colombaie sono state preservate anche per favorire la conservazione delle specie di uccelli che vi nidificano. Sebbene non si allevino più colombi per scopi economici, le torri possono ancora servire come habitat per uccelli selvatici, diventando così parte di progetti di conservazione della biodiversità.
Un ponte tra passato e presente
Le torri colombaie del Salento, una volta utilizzate principalmente per la produzione di carne e fertilizzanti, oggi rivivono grazie alla loro importanza storica e culturale. Queste strutture non solo testimoniano il passato agricolo della regione, ma contribuiscono anche allo sviluppo del turismo sostenibile, rafforzando il legame tra la storia rurale e il presente moderno del territorio.
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.
"Suspended Harmony: The Vaults in the Architecture of Salento”
The Leccese stone and the Carparo
Richness, beauty, solidity, three attributes that best define a material that has made, and continues to make, the history of a place. The Lecce stone, a limestone formation dating back to approximately 21 million years ago, is one of the main stones that make up the architecture of Salento, with a unique structure, color and compactness.
Among the peculiarities of this stone there is undoubtedly the fact that it contains, in the formation itself, fragments of shells, small fossils which enrich the structure geologically, but also clays, quartz which are added to a series of minerals which fortify it and make it even more more fascinating.
A stone widely used above all due to its widespread diffusion and the ease with which it can be worked, as it emerges from the ground naturally and is found throughout the Salento area, in immense quarries up to fifty meters deep.
Among the municipalities in which it is most widespread, Melpignano, Cursi, Maglie and Corigliano d'Otranto stand out, where stones of the main colors ranging from white to straw yellow can be found. Until the mid-20th century, extraction took place entirely by hand, until it changed completely in the last sixty years, with the introduction of modern machinery.
There is another type of rock that is often associated, if not even confused, with Lecce stone. We are talking about carparo, a calcarenitic stone which is very widespread in the areas of southern Salento especially, and deriving from the cementation of limestone rock sediments in a marine environment mostly.
Slangly called "tuff", it has the ability to take on different aspects on the outside, and is a material widely used in Salento construction, with a tenacious consistency and workable only with a chisel and axe. Its resistance, however, makes it a perfect covering especially for the external facades of buildings, especially for those exposed to bad weather and the corrosive action of salt, if facing the sea.
The Vaults and their origin
In the context of wall structures, the vault represented not only the highest manifestation of technical construction skills, but also and above all the culmination of the commitment of the creative faculties and the point of arrival of the primordial search for the most effective system for the horizontal closure of the space. It has constituted a system perfected with the contribution of both individual operational skills and available material. The traditional lack of wood necessary in the construction of flat coverings and roofs has forced the construction of the wall vault, which was also favored by the presence of workers with considerable skill and the availability of a stone that is particularly easy to work and quite resistant.
The construction of the simplest vault, the barrel vault, was nothing other than the repetition of another elementary structure: that of the round arch, which in turn represented the point of arrival of centuries-old experiences that began with the overcoming of the system architrave (two piers and an architrave) conditioned by the weight of the monolithic block. With the experience gained over the centuries, it was understood that the load on the monolithic architrave carried by the masonry above could be attenuated, if not eliminated, with the positioning of cantilevered ashlars (see Lion Gate of Mycenae) practiced, for example , in the roofs of the local trulli (furnieddhi, pajare), without the use of scaffolding (also called "fake arches").
The round arch had its maximum expansion and diffusion in the period of the Roman Empire and subsequently gave rise to numerous variations and applications, from bridges to aqueducts, to tunnels, with shapes gradually modified until including in the 18th century even the very widespread and typical trefoil arch of Nardò. The Romans loved the barrel vault so much that they built nothing without it, the Colosseum itself, a gigantic and unparalleled futuristic construction for those times, rested entirely on a long chain of barrel vaults which, on several floors, raised a of the wonders of the ancient world. In Lecce, one can observe, through the remains of the Roman amphitheatre, how the rooms, the corridors from one area of the arena to another and each sector of the monument were distributed through the vault.
In Salento there are not many other examples of vaulted buildings still standing that date back to those times. In the 5th century AD we find the Church of Casaranello (Casarano), whose vaults have also been decorated with very precious Byzantine mosaics, which in Italy have comparison only with those of Ravenna.
As the centuries passed, the vault was used not only for churches but also for castles and the noble residences of powerful landowners. This is the case of the Celsorizzo tower, in Acquarica del Capo, inside which there is a completely frescoed barrel-vaulted chapel.
The castle of Gallipoli presents within one of its bastions, one of the most gigantic and majestic vaults in all of Salento, so large that it cannot be photographed in its entirety with a lens.
Even the castle of Otranto, rebuilt in 1481, has an environment created with a reckless vault, the result of great architectural expertise: in this case too, to be able to appreciate it in photos, you need to observe two of them, taken from different angles. An authentic technical masterpiece.
Just as the round arch represents the original element of the barrel vault, similarly, the barrel vault represents the basic element of all the variations on the theme that have produced the numerous types of masonry vaults.
From the development of the barrel vault, the pavilion vault and the cross vault follow.
The pavilion vault is born from the union of some portions of the barrel vault, it is generally used for rooms and halls as it lends itself well to being frescoed in an almost continuous manner. The pavilion vault, or with pavilion heads, can be lowered and its central surface made horizontal with a plane that intersects it. This type of roofing, frequently used because it is more suitable for decoration with frescoes, is called a schifo vault, which in Salento has taken the name of a malrotta vault.
The cross vault, already known in Roman times, appears as the intersection of two identical barrel vaults. Two semicircular edges are created in the intrados that go from one corner to the opposite one. These edges can be crossed by a reinforcing rib called a rib, fundamental structural elements of this roofing and not simple decorations.
The local lords who retired to live in the countryside in the 15th century hired the best masters to build their farm, an architectural typology present throughout the province of Lecce, which in some cases represents the pinnacle of the use of the vaults known at the time , such as Masseria Barba ai Monti (Lecce), Masseria Barone Vecchio (Surbo), Masseria Monacelli (Squinzano), Masseria Papa (Lecce), etc.
The star vault
Known above all as a corner vault, it is rather recent compared to other vaulted roofs: there are no examples dating back to the 17th century. This type of coverage is typical of Salento, so much so that it is often identified as a vault from Lecce; it originates from the need to adapt the materials available on site to the construction of solid, large and functional, but also aesthetically pleasing buildings. Due to these characteristics, the star vault can very often be found in churches and Baroque buildings in Lecce. Unlike the cross vault, of which it represents the evolution, the weight of the roof is not placed on the perimeter walls, but on four pillars, and the vault becomes more complex, with the addition of more evident ribs, which will give it the typical shape of a stylized four-pointed star. This type of vault is suitable for small to medium sized rooms as the lateral arch, being rounded, would make the structure too high.
The Church was the richest client, so we can admire wonderful vaults, completely frescoed, as inside the incomparable Santa Caterina, in Galatina. Or you can find them increasingly ingenious and effective, as in the Maria Santissima dell'Incoronata church, in Acquarica di Lecce.
The square vault, the apotheosis of the vault
While for the corner vault the pillars were made up of a square, in the square vaults the corner pillar has an "L" shape, this is because the relief points of the
vault, which functions in the same way as the previous one, are two for each pillar. In this case an eight-pointed star will be highlighted in the cap (two points per arm). For this reason it is also called "double star vault". From this it is clear that these vaults were intended for large rooms, where the loads were much greater than the corner vault. Beyond this, the "decorativeness" of this vault when brought into small spaces lost its effect. In fact, the minimum size of the rooms for its use was at least 6.00 x 6.00 m.
A curious feature found in the central key of the cap is the "signature" of its maker, usually represented by a cross (given the existing illiteracy) which due to its shape, size and positioning could be traced back to the creator of the artefact. For many, however, it only represents a sign of good wishes for the end of the work and a symbol for the owner that it was time to offer the "capicanal" (final banquet to be offered to the workers, still in use, in many places, even with other types of constructions), and then settle the payments. The protection of the building, however, was entrusted to a holy card brought by the owner and buried either in the foundations or at the base of the hanging.
Then came the stately palaces, such as that of the Castromediano barons, in Cavallino, whose visitor who happens to observe the vault of its large gallery hall cannot help but be amazed by its grandeur, height and artistic beauty! A journey, the one in the artistic vaults of Salento, which still challenges the past and contemporary world today!
Conclusions
The vaults populate the villages of this sunny land, the peasant neighborhoods, the humble country homes, up to the churches and palaces. On the one hand, simple architecture, on the other, monumental, ecclesiastical and noble architecture. Distant worlds, linked by the same creativity that is a fundamental part of these valuable geometric works. There is not only technique in the construction of vaults: there is manual talent, there is organization and also intellect. Behind a building tradition that has marked the residential settlements of the province of Lecce, there are therefore numerous meanings which, in some ways, recall art and anthropology. A typical building artefact fully enters the world of art when its reproduction over time is characterized by the introduction of rules into the production process.
Rules of harmony, measurement, interweaving and specialization and not simple repetitiveness. The mechanism is not that of serial copies, but of a reference model from the past, handed down from generation to generation. Rules therefore that give the construction of vaults beauty and static nature, formal decoration and durability, creative occupation of space and a suggestive image that remains intact over time.
An art which, however, cannot be defined as authorial: it is impossible, in fact, to trace the origin of the vaults, to trace their genesis. There is no name of the first inventor, nor his date of birth, because the star vaults are the result of the experience of a collective subject, of the people, of masters who, over the years, have perfected the technique, protecting it from any degeneration.
The art that evolves over time, improving, also brings with it the traces of the changes of the man of Salento, who has changed his relationship with the earth, with the surrounding environment: hence the link with anthropology, that science that delves into the spiritual and behavioral dimension of man. In distant times it was built for various reasons: to shelter, first of all, but also to raise monuments to the divinities, to give life to rites and liturgies that have made the history of Salento. This still happens today.
Two ways, therefore, to "read" the vaults: as beauties to be admired and as signs of a language to be interpreted.
Exploring the Salento countryside: Hidden Treasures among Rock Caves, Dolmens, Menhirs and Pajare
The breathtaking beaches, the crystal clear waters and the ancient traditions that have remained unchanged over the centuries up to the present day are the elements that first and foremost push us to visit the Salento peninsula. However, in addition to these fascinating aspects, Salento preserves an extraordinary archaeological and natural heritage in the hinterland, which manifests itself in its mysterious rock caves, imposing dolmens, enigmatic menhirs, suggestive mirrors, characteristic pajare and lamie.
Rock Caves: A Journey into the Past
Even today we can admire the rock caves in the Salento countryside. Of karst origin, and often of an underground nature, these settlements set in the rock represent in large numbers the evidence of human presence since the prehistoric period, and manifest themselves in a fascinating labyrinth of tunnels and chambers.
Initially used as shelter, and for the celebration of mystery cults, with the advent of Christianity they were transformed into hermit places, or places of worship, taking the name of crypts, and enriched with brightly colored frescoes, in Byzantine style, which in part have survived to the present day. In other cases they were used as oil mills, exploiting the natural cavities in the ground.
Outside of these caves, in many cases real self-sufficient rock villages arose, actively inhabited until the 14th-15th centuries AD. of the Middle Ages.
In the locality of Macurano, in the municipality of Alessano, we find one of the most representative complexes of this typology.
Dolmens and Menhirs: Mysterious Megalithic Constructions
Among the centuries-old olive trees and dry stone walls of Salento, majestic dolmens and menhirs stand, evidence of the ancient civilization that populated this land. The characteristic element is their megalithic nature, that is, the fact that they were made with large single blocks of stone, monoliths, which in the case of the dolmen were arranged both vertically and horizontally, to create a tomb, while in the case the menhir was a monolith placed in a vertical position with respect to the ground, which could fulfill a funerary, auspicious and fertility, or astral function.
More discussed, however, is the origin and function of the mirrors, as according to some scholars they date back to the Neolithic, while for others they are to be found in the Messapian era, and even their function has not yet been completely clarified: being of the constructions built dry, with limestone, which formed a sort of turret, according to some paleontologists the mirrors were nothing more than the ruins of ancient and very large houses, which vaguely recall the structure of the trulli, while for others these structures were born as tombs or with the purpose of defense, being stone lookouts. Giudignano is the municipality with the largest number of dolmens, which scattered throughout its countryside are easily visible, and we find others especially in Minervino di Lecce, Melendugno and Salve.
The tallest menhir in Italy is located in Martano, where the "Menhir de Santu Totaru" measures over five meters in height, while near Giurdignano you can count over fifteen.
The Specchie di Martano, Ugento and Cavallino are very well known, and among the most famous there are also the three Specchie di Salve, known as Specchia Cantoro, Spriculizzie and Fersini. Another very important Specchia is that of the Mori, located in the Martano area, famous above all for its 6 meters of height: in fact it represents one of the most majestic structures present in the Salento area.
Between dolmens, menhirs and mirrors, there are over one hundred of these monuments throughout Puglia, of which much is still to be discovered regarding their rituality and who and why began to build them.
Pajare and lamie: Unesco heritage symbol of rural life
The history of this type of house is quite uncertain and in some cases controversial; their origin is certainly very ancient and, according to experts, can be dated back to 1,000 AD. approximately, in the Byzantine era, with the resulting material from the clearing of agricultural land, material with which the numerous dry stone walls were also built. But we cannot even rule out an origin in a much more ancient era, between 2000 BC. and the end of the Bronze Age, as an evolution of megalithic constructions such as mirrors.
One thing is certain, however, that the pajare are homes that are fully part of the landscape, and constitute a further architectural note of the territory. Conical in shape, they were built using stones of different sizes, both superimposed and fitted together, with a roof that is supported by the stones that form the walls.
Salento farmers used them as a place to spend rest periods after working in the fields, or as a refuge in case of sudden storms or downpours. In other cases, especially in summer, the pajare could also serve as a home in order to remain close to the fields.
Very widespread and appreciated, due to the presence inside the barrel vault, the lamia (or lama), an evolution of the pajara, with a rectangular plan and a large terrace, which lent itself to the same functions.
The pajara has its apotheosis in the colossal "Pagliarone Ferrante" (named after its owner), located in the countryside of Ruffano, which measures 26 meters wide on the entrance side and 13 on the other side, forming a rectangle composed of two domes and smaller rooms all placed together in a single body. Among the others of large dimensions we remember the elegant pajara in Salve, in the Scafazzi area, which is spread over five floors, and the Pajarone of Acquarica del Capo, of fine workmanship, with a truncated cone shape which rises on three steps to which It is accessed via six opposing flights of stairs.
Nature trails: visit the Salento countryside
In this article we have seen how the red earth of Salento is still dotted with archaeological evidence integrated with today's landscape, bearers of a history that leaves many questions still open, but at the same time allows us to understand the reality of Today.
And precisely for this purpose, numerous groups have recently been created which take care of accompanying anyone who wishes to participate in visiting the most hidden and least known part of the Messapian territory, where between red earth, dry stone walls and more than 1,500 different plant species , the architectural forms of the past are easily accessible.
In conclusion, Salento reveals itself not only as a first-rate seaside destination, but also as a true archaeological and naturalistic treasure, rich in history, charm and beauty. A unique experience that allows you to immerse yourself in the thousand-year history of this fascinating region, discovering the secrets and hidden treasures that still characterize its identity today.