Carnival in Salento: History, Masks and Traditions between Sacred and Profane
Carnival is one of the most heartfelt celebrations in Salento, a celebration rich in history, traditions and symbolic characters that tell the story of the deep bond between popular culture and territory. From allegorical parades to rites of passage linked to Lent, the Salento Carnival is a mix of joy, satire and tradition, with unique masks. But not only that: this celebration is also intertwined with the architecture and landscape of Salento, creating a fascinating combination of baroque theatricality and the soul of the local community.
The Origins of the Salento Carnival
The roots of the Carnival in Salento are rooted in ancient pagan celebrations linked to the cycles of nature and fertility. During the Roman era, the Saturnalia granted citizens days of celebration and subversion of social rules, a tradition that, with the advent of Christianity, was transformed into Carnival, a period of abundance before the Lenten penance.
Over time, Carnival has taken on unique nuances in the Salento area, developing iconic and ritual characters that still survive today in the popular festivals of numerous villages and cities.
The Typical Masks of the Salento Carnival
The Purgianella: The Mask of Castrignano del Capo
The Purgianella is the mask, daughter of the classic character of Pulcinella, that represents the Carnival of Castrignano del Capo (LE), as well as the historical identity of the local inhabitants.
He wears long trousers and a large white shirt tight at the waist to hold confetti underneath, once replaced by bran, a symbol of fertility and abundance. Of the same semiotic value are the lemons that the purgianelli jealously carry with them.
The true characteristic of the mask is its enchanting cone-shaped headdress, made with reeds and decorated with plumes and hundreds of colored paper ribbons, creating a colorful mane in the wind that recalls the wingspan of peacocks, a typical courtship gesture. At its end, the headdress has three lucky pumi, another reminder of love.
The outfit is completed by shawls on the shoulders, of different patterns but always very well-groomed, and a black mask on the face. Sometimes they have bandanas around their necks or handkerchiefs at their waists.
The Purgianella goes “hunting” for sweet girls, attracting them with citrus and showering them with confetti or, in the past, bran. More than courted, the girls were frightened, hence the local saying: «ci vide lu Purgianella cu sse chiusi e cu sse ’nserra» (“Whoever sees the Purgianella closes himself and barricades himself inside”).
Lu Paolinu: La Morte de lu Paulinu
In Martignano and in Grecìa Salentina, Carnival ends with “La Morte de lu Paulinu” (The Death of Paolino), a rite that represents the passage from revelry to Lenten penance. Lu
Paulinu “Cazzasassi” (Pauline Stonecutter) is the puppet that personifies Carnival itself, celebrated with a theatrical funeral procession in which local actors stage a tragicomic comedy. The procession passes through the streets of the town accompanied by a shattered musical band and stops in front of the most prominent houses and shops, which offer food and wine.
At midday the traditional “consulu” takes place, a free public banquet in Piazza della Repubblica, based on tripe, potatoes and wine, in honor of the inconsolable widow Nina Sconza and all those who participate in Paulinu’s mourning. The evening ends with the burning of the puppet and the placing of the “Quaremma”, symbol of the beginning of the period of penitence.
Caremma: The Symbol of Lent
Caremma is one of the most symbolic and fascinating characters of the Salento Carnival, embodying a deep bond with the religious and popular traditions of the region. This figure, an old woman dressed in black with a spindle in her hand, represents Lent, that period of fasting and penance that follows Carnival, marking the transition from the exuberance of the festivities to the sobriety of the 40 days of preparation for Easter.
Her appearance is deliberately austere and severe, to reflect the meaning of sacrifice and renunciation that Lent brings with it. Caremma is not only a figure of transition, but also a symbol of an ancient ritual, which marks the end of a cycle of abundance and freedom, to give space to a time of reflection and austerity. In the popular tradition of Salento, Caremma also served as a "living calendar" for the Lenten period. With a spindle in her hand, she tore out a feather or part of a symbol every week that passed, a gesture that marked time and reminded those who observed her of the path of purification and waiting that they were about to face. Each week of deprivation was “archived” in this way, giving Caremma an almost educational function, which taught patience and discipline.
The figure of Caremma, therefore, is more than a simple carnival mask: it embodies a balance between the profane and the sacred, between celebration and a moment of reflection, a symbol of the duality that runs through the Salento Carnival, where fun and joy give way to the serenity of fasting and penance, marking an essential passage towards Easter. Her presence in carnival celebrations becomes a reminder of how, even in moments of celebration, there is a cycle to be respected, a tradition to be honored, which carries with it a profound meaning and great symbolic value for the community.
The Traditions and Rites of the Salento Carnival
In addition to the masks, the Salento Carnival is characterized by rites and customs that reflect the cultural identity of the territory:
- The Allegorical Floats: Cities such as Gallipoli, Galatina and Corsano host parades of handcrafted floats, often with satirical figures inspired by current events.
- The Carnival Serenades: In some towns, the Carnival is accompanied by popular songs and traditional dances, in particular the pizzica.
- The Burning of the Fantoccio: In many places in Salento, the Carnival ends with the burning of a straw puppet, which symbolizes the farewell to the festival and the entrance into Lent.
The Link between the Carnival and the Architecture of Salento
The architecture of Salento is closely connected to the carnival spirit, especially in the baroque cities such as Lecce and Nardò. The Baroque of Lecce, with its elaborate decorations, the scenographic excesses and the theatricality of its facades, reflects the exuberant spirit of Carnival, in which everything becomes a spectacle and a staging.
The historic squares, the heart of community life, are transformed into open-air stages during Carnival, where masks, actors and spectators mingle in a collective game of celebration and reflection.
The masserie of Salento, once the centers of rural life, have hosted more intimate celebrations and rituals linked to agricultural cycles for centuries, making Carnival a moment of transition between winter and spring.
Conclusion
Carnival in Salento is not just a celebration, but a collective ritual that tells the story, culture and transformations of the territory. Through figures such as Caremma, Paolinu and Purgianella, this tradition continues to live, intertwining satire, spirituality and fun. If you want to immerse yourself in the authentic atmosphere of Salento, Carnival is the perfect time to discover its masks, its customs and the charm of its timeless architecture.
Golden Fruits and White Stone: Citrus Fruits in the Aesthetics and History of Salento
A Divine Gift: The Greek Myth of Citrus Fruits
According to Greek mythology, when Juno married Jupiter, she gave him as a dowry some trees that produced splendid golden fruits, oranges
and lemons, eternal symbols of love and fertility. This symbolic meaning continues to this day, as demonstrated by the tradition of using orange blossoms in wedding bouquets.
Jupiter considered those gifts so precious that he jealously guarded them in a magnificent garden, located in a remote region of the known world at the time, at the foot of Mount Atlas. To protect these legendary plants, he commissioned the Hesperides, young girls with melodious singing, assisted in their mission by the dragon Ladon.
Despite these precautions, Jupiter was unable to prevent their theft. During his eleventh labor, Hercules managed to take possession of the trees after a grueling fight that saw Ladon succumb. From that moment on, citrus fruits became accessible to humans, while maintaining their connection with divinity through the Greek term hesperidium, used in botany to indicate the citrus fruit.
From Asia to the Mediterranean: the long journey of citrus fruits
The cultivation of citrus fruits began in their region of origin, eastern Asia, around 2400 BC. Their journey to the Mediterranean was slow and progressive, passing through India and the Middle East. However, it seems that the Romans only knew the citron and the lemon, as evidenced by frescoes and mosaics of the time. It was only around the 7th century that the Arabs introduced the bitter orange, also known as melangolo, to Sicily.
Although many authoritative sources attribute the introduction of the sweet orange to the Arabs, there is no historical or literary evidence to support this thesis. Consequently, several scholars believe that the Portuguese were responsible for its spread, coinciding with the beginning of their colonial expansion in 1415. Evidence to support this hypothesis can be found in the diary of Vasco de Gama’s first oriental mission, in which he describes his encounter with sweet oranges: “sonvi melancie assai, ma tutte dolci…”. It is likely that the Portuguese discovered these fruits in the East and introduced them to Europe. Further confirmation is the fact that the sweet orange was called Portogallo, a name that persists in several southern dialects, such as those of Calabria and Salento (portagallu).
Citrus fruits in Salento: diffusion and importance
Citrus fruits, such as oranges, lemons and cedars, are not native to Salento. They were introduced into the Mediterranean area thanks to trade with the East, probably by the Phoenicians and later by the Arabs. During the Middle Ages and the Renaissance, these crops spread in Salento, thanks to the mild climate and fertile soil that favor their luxuriant growth.
Citrus gardens became an integral part of the local agricultural culture, and even today it is possible to find orange and lemon groves that adorn the Salento countryside, especially in the more humid and wind-sheltered areas.
The symbolism of citrus fruits: between religion and legends
Over the centuries, citrus fruits have acquired an important role not only from an economic point of view, but also from a symbolic one.
In ancient times, and especially in the Medieval period, the orange is a symbol of love: to give, receive, exchange. In the Christian context, together with the citron and the lemon, the orange symbolized the Holy Trinity: the three citrus fruits, distinct in shape, are unique in substance. Lemons and oranges were planted in the garden of the house as well as in the porticoes of churches, symbolizing the ancestors and the souls in mortal bodies. According to a widespread legend, which is linked to the passage of Saint Francis in Salento, also in Lecce, in the oratory next to the Franciscan church and convent, the seraphic father planted an orange tree. It also happened that one day Saint Francis, unable to feed his companions, asked for charity from a devotee who, deeply mortified at having nothing to offer him, closed the door. Unperturbed, Saint Francis knocked a second time, but received the same answer. He tried a third time and the man, uncomfortable at not being able to please the beggar, told him that he did not have even a crumb of bread in the house. In fact, that very year, even the only orange tree he had in the garden had not borne fruit. Saint Francis asked to be accompanied near that tree and the astonishment of the owner of the house was immense when he saw that the sterile plant had grown luxuriantly and had a large load of wonderful fruit.
Citrus fruits and art in Baroque Salento
During the Baroque period, Salento experienced a period of great artistic and cultural ferment, and citrus fruits were considered symbols of purity, abundance and prosperity. They were often exchanged as precious gifts or used in events religious and ceremonies.
Citrus fruits were also used in the medical and cosmetic fields, thanks to their beneficial properties. Local traders exported these fruits to other territories, helping to consolidate the image of Salento as a land rich in natural resources.
Citrus culture is also visible in the art and architecture of Salento. During the Baroque period, local artists and architects began to use decorations inspired by citrus fruits in their works. Facades of churches and palaces, frescoes and sculptural details often include motifs that recall the golden fruits, a symbol of divine light and perfection.
A significant example is the Church of Santa Croce in Lecce, a masterpiece of Lecce Baroque. The intricate decorations of the facade include floral and natural motifs that recall the fertility of the Salento land, among which details that could be inspired by citrus fruits stand out.
Even in the historic gardens of noble villas, citrus fruits play an aesthetic and symbolic role. The “fenced citrus groves”, called “secret gardens”, were protected spaces where aristocrats grew citrus fruits not only for their nutritional value, but also for aesthetic and olfactory pleasure.
Citrus fruits and popular magic: macàre and spells
Even today in Salento you can hear about macàre and macarìe, and especially in the area of Grecìa salentina, from Soleto to Sternatia to Zollino. Stories, sagas, songs, nursery rhymes: there is a vast literature on the macàre (or “daughters of the night” as Petronius poetically called them), which speaks of witches and their raids. Their specialization is the macarìe, spells.
The simplest and most widespread is the one to find lost love, and the main protagonist is precisely an orange. It was necessary to obtain a lock of hair from the beloved and an orange (symbol of the world). Using the wax from a lit candle, a hole had to be made in the center of the fruit and the lock of hair inserted. At this point, the orange had to be wrapped in string and, after tying a tight knot, hung on a wooden stick. Finally, needles or pins had to be stuck into the peel, pronouncing the appropriate spells and ritual magic formulas at each puncture. After that, the orange had to be kept under the mattress: it would become a powerful talisman, capable of making the beloved return in a short time, tying him or her to the person who had performed the rite... just like the string tied around the orange.
The game of "puni": when oranges became a pastime
A hole in the center, five more around it. You would stand 4-5 meters away and throw a “rizza” orange (bitter, the bitter orange). If the orange stopped in one of the side holes, you won your stake; instead, whoever managed to get it into the central one took the entire prize pool.
This is the very ancient game of “puni”, whose name, in the linguistic islands of the old people of Terra d’Otranto, means “hole” or “pit”.
In Montesardo, in the Lecce area, puni was played until a few years ago, until the old players died. The games were played on spring and summer afternoons, on beautiful days, and the improvised playing field was located in the shade of the Chapel of the Immaculate Madonna. Players from all the nearby towns participated.
Today, in nearby Corsano, the “Idee a Sud-Est” Association has been organizing the Puni Championship for nine years, which this year was also opened to women. An ancient game, recovered and destined to be passed down to new generations.
Citrus fruits today: a legacy still alive
Today, the bond between Salento and citrus fruits continues to be strong. Many local farms have rediscovered ancient varieties of citrus fruits, growing them with organic and sustainable methods. Products such as jams, liqueurs (such as limoncello) and essential oils are exported all over the world, bringing a piece of Salento to international tables. In Salento, the mild climate makes this land ideal for growing citrus fruits. These trees are among the most common in urban gardens and rural areas, but it is especially in Alezio and the Gallipoli hinterland that their cultivation has reached a high level of specialization. Here, different varieties of sweet orange are grown with staggered ripening, in order to satisfy the provincial needs for a long period of the year. In addition to the most common varieties, such as the Arancio Biondo Comune, the Sanguinello and the Tarocco, there are lesser-known cultivars and numerous varieties of mandarins, lemons and rare citrus fruits.
Conclusion: a link between nature, history and culture
Salento and citrus fruits share a rich and fascinating history, which unites nature, tradition and art. This link is not only a testimony of the past, but also a source of inspiration for the present and the future. Strolling among the citrus groves of Salento or admiring the artistic details that celebrate these fruits is a way to discover the deep soul of this unique and generous land
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 Lecce Baroque: men and monuments
In a previous article on this blog we have already analyzed the historical origins of the Lecce Baroque, listing some events and circumstances that favored its birth and development, from the Spanish presence in the Kingdom of Naples to the end of the threat brought by the Ottoman Empire up to the Council of Trento and the vast availability of precious stone from Lecce; each of these circumstances had a significant weight in the development of the architecture that redefined the panorama of the city of Lecce from the mid-sixteenth to the eighteenth century, but alongside the favorable circumstances and historical events, the Lecce baroque owes its fortune also to the vision , to the perseverance and commitment of some historical figures of the Salento capital, such as the bishop Luigi Pappacoda or the architects Giuseppe Zimbalo and Giuseppe Cino.
Luigi Pappacoda in June 1639 was called to govern the diocese of Lecce and remained bishop until his death in 1670. He held two diocesan synods in the city in 1647 and 1663 and in 1658 approved the election of the saints Oronzo, Fortunato and Giusto to the patrons of Lecce, restoring the ancient cult. In 1659 he laid the first stone for the construction of the new cathedral and commissioned numerous other works from the architect and sculptor Giuseppe Zimbalo. On his death he was buried in the Cathedral of Lecce, in the sepulcher near the altar of S. Oronzo.
As we have seen, the figure of the bishop Luigi Pappacoda is linked to that of the sculptor and architect Giuseppe Zimbalo, known as "the Zingarello" (the nickname is none other than the Italianization of the dialectal term "Zimbarieddhu" or the little Zimbalo, probably to distinguish it from father Sigismondo, also an artist of the stone) was the most famous and imitated architect of the Lecce Baroque. In the Salento capital the artist created the lower façade of the Celestini Convent, the Cathedral, the column of Sant 'Oronzo and the Church of the Rosario.
As for the architect and sculptor Giuseppe Cino, he worked in the Salento capital from the mid-seventeenth century, continuing the stylistic research of Giuseppe Zimbalo, whose construction of the Palazzo dei Celestini, for example, was completed. Cino was also responsible for the construction of the splendid Church of Santa Chiara, the Church of the Alcantarine and the Church of the Carmine, on which he worked until his death. He also designed the Seminary on commission of Antonio Pignatelli, at the time the new bishop of Lecce.
The Basilica of Santa Croce, together with the adjacent former Celestini Convent, constitutes the highest manifestation of the Lecce Baroque. A monastery had already been built in the 14th century in the area of the current basilica, but it was only after the middle of the 16th century that it was decided to transform the area into an entirely monumental area and to have the necessary space all of them were requisitioned. the properties of the local Jews, expelled from the city in the year 1510. The works for the construction of the basilica lasted for over two centuries and involved the most important Lecce architects of the time. The first phase of construction lasted from 1549 to 1582 and saw the construction of the lower area of the facade, while the dome was completed in 1590. The next phase of the works, starting from 1606, during which the three decorated portals were added to the facade , is marked by the commitment of Francesco Antonio Zimbalo, then Cesare Penna and Giuseppe Zimbalo worked on the final completion of the work.
The history of the Cathedral is very similar: a first cathedral of the Diocese of Lecce was built in 1144 by the bishop Formoso; in 1230, at the behest of the bishop Roberto Voltorico, the cathedral was renovated and rebuilt in Romanesque style. Subsequently, in 1659, the bishop Luigi Pappacoda gave Giuseppe Zimbalo the task of rebuilding the church in the Baroque style. The construction ended in 1670. The bell tower of the Duomo was built between 1661 and 1682, again by Giuseppe Zimbalo; was built to replace the Norman one, wanted by Goffredo d '
Altavilla, which collapsed at the beginning of the seventeenth century, and has a height of 70 meters; from its summit it is possible to admire the Adriatic sea and on particularly clear days also the mountains of Albania.
Also in the Piazza del Duomo is the Palazzo del Seminario built by the architect Giuseppe Cino between 1694 and 1709, commissioned by Bishop Michele Pignatelli. In the atrium you can admire a decorated well, also the work of Cino, while inside the building there is a chapel from 1696. On the first floor of the building we also find the "Diocesan Museum" and the "Innocenziana Library", so called by the name assumed by Pope Innocent XII, who had been bishop of the city. The library contains over ten thousand volumes, including from the fifteenth and sixteenth centuries.
The Church of Santa Chiara is located in the historic center of Lecce, in Piazza Vittorio Emanuele II. Its first foundation, wanted by the bishop Tommaso Ammirato, dates back to 1429; it was subsequently almost completely renovated between 1687 and 1691. The construction of the church, which remained without the upper pediment, is also the work of the architect Giuseppe Cino.
The Church of Sant 'Irene dei Teatini is located in the historic center of Lecce and is dedicated to Sant' Irene da Lecce, protector of the city until 1656. It was built starting from 1591 on a project by the Theatine Francesco Grimaldi and was completed in 1639, year of consecration by the bishop of Brindisi. The Church of Sant 'Irene was also at the center of important non-religious historical events: in 1797 it was visited by King Ferdinand IV of Naples, while in October 1860 it hosted the plebiscite operations to decide Lecce's yes to enter the Kingdom of Italy. In 1866 the annexed Convent of the Theatines was suppressed, but the church was still open to worship.
There are obviously many examples of the Lecce Baroque style also in other municipalities of the Salento peninsula, such as the Cathedral of Gallipoli or the Mother Church of Casarano.
The Lecce Baroque: history and origins
Lecce
Whitely gilded
is the sky where
on the ledges they run
sweet-breasted angels,
Saracen warriors and learned donkeys
with rich ruffs.
A fast-paced game
of the soul that is afraid
weather,
multiply figures,
defends itself
from a sky that is too clear.
An air of gold
mild and unhurried
he entertains himself in that kingdom
of useless gears including
the seed of boredom
it unfolds its arrogantly witty flowers
and as for bet
a stone carnival
simulates infinity in a thousand guises.
(from After the Moon, 1956)
Vittorio Bodini was an established Apulian poet and translator, he was born in Bari but spent his childhood in the Salento capital, he translated into Italian several Spanish writers including Federico Garcia Lorca and Miguel de Cervantes. In his poem "Lecce" we find a splendid and exciting description of the Lecce Baroque and we start from here to talk about this architectural style which in two centuries, between 1550 and 1730, changed the face of the city forever and made it the jewel it is today, capable of attracting visitors from all over the world.
Let's start from the words of an established translator of Spanish works for a specific reason, the link between Spain and Italy is not accidental if we talk about the Lecce Baroque, this style is in fact very influenced by the Spanish Plateresque, an artistic style that flourished in Spain. in the fifteenth and sixteenth centuries, characterized by many ornaments and composed starting from the imitation of silverware works (in Spanish “plata”), from which the name of plateresque derives. A few decades after the Spanish presence in the Kingdom of Naples contributes decisively to the customs clearance of this taste for details and decorations and therefore to the birth of the Lecce Baroque. There are also other historical reasons behind this Baroque spring in the Heel of Italy, such as the outcome of the Battle of Lepanto in 1571, which considerably weakened the armies of the Ottoman Empire, making southern Italy less exposed to raids by pirates and invasions by the enemy. Finally, the Counter-Reformation, or a set of measures of spiritual, theological and liturgical renewal with which the Catholic Church reformed its institutions after the Council of Trent. Following these measures, many churches were re-adapted at an architectural level to be more functional to the new post-Tridentine liturgies, many buildings of medieval construction were "renovated", through embellishments with stuccoes, marbles and various decorations, which made them assume
these look like baroque churches. But the Baroque was particularly lucky in Salento also thanks to the quality of the local stone used: the Lecce stone, which we have already talked about in this blog, or a soft and compact limestone with warm and golden tones suitable for working with the stonemason.
The Lecce Baroque is immediately recognizable even to less experienced spectators, due to its gaudy decorations that characterize the coatings of the buildings: precisely baroque exuberances, floral motifs, human figures and mythological animals, friezes and coats of arms. All this richness of agricultural and floral decorative elements is a metaphor for the "grace of God" and the beauty of creation. Among the most common fruits are the pine cone, a symbol of fertility and abundance, the apple, a symbol of temptation but also of redemption, the pomegranate, a symbol of the Resurrection, the vine, an attribute of Christ.
This new style, which at first only affected sacred and noble buildings, then spread also in civil architecture and therefore its floral motifs, figures, mythological animals, friezes and coats of arms also triumphed on the facades, balconies and on the portals of private buildings.
Until then Lecce had been a fortified city, almost austere, gathered around the severe bulk of the Castle of Charles V, but in less than two centuries it changed considerably, becoming that "... stone carnival, which simulates the infinite ”recounted by Bodini in his beautiful verses. In the next article of this blog we will see to analyze in detail each of the buildings resulting from this admirable architectural revolution.