Smart Working, Workation and Slow Life: Salento as a New Home
In recent years, Salento has established itself not only as one of the most sought-after holiday destinations, but also as an ideal destination for those seeking a change of life. Post-
pandemic housing trends, together with the growing popularity of remote working, have redefined the needs of those looking for a home, making Salento a perfect place to live. In this article, we explore how this region responds to the new demands of the real estate market, with a focus on spaces for smart working, a return to nature, and luxury housing solutions.
Remote working: the ideal home in Salento
With the development of smart working, many professionals are choosing to move to places that combine high quality of life and excellent digital connections. Salento, with its natural beauty, a mild climate and a competitive cost of living, is confirmed as one of the most interesting choices.
Ideal characteristics of homes for remote working in Salento:
- Spaces dedicated to the home office: Villas in Nardò or Galatina offer large, bright studios overlooking centuries-old olive groves, creating an environment that stimulates productivity and concentration.
High-speed internet connections: Many places such as Lecce and Gallipoli are investing in digital infrastructure. Even villages such as Specchia and Presicce have equipped themselves with fiber optics, making online work possible even in more remote areas.
Relaxing settings: Villas in Porto Cesareo or Santa Caterina, equipped with panoramic terraces and gardens, allow you to balance working hours with moments of relaxation, perhaps with a breathtaking view of the sea.
The return to greenery: living in the villages and countryside of Salento
The pandemic has rekindled the desire to live in open spaces and immersed in nature, leading to a rebirth of the villages and countryside of Salento.
What buyers are looking for in this area:
- Private gardens and vegetable gardens: Renovated farmhouses near Otranto offer hectares of land where you can grow an organic vegetable garden, for a sustainable lifestyle.
Traditional architecture and modern comforts: In Santa Maria di Leuca, you can find renovated trulli and pajare, often equipped with infinity pools and photovoltaic systems.
Authentic communities: Living in villages like Borgagne or Specchia means rediscovering the value of authentic relationships and a slower lifestyle. These places offer affordable properties, often with large outdoor spaces and panoramic terraces.
Urban luxury: condos with exclusive amenities in Lecce
For those who prefer city life without sacrificing comfort, Lecce represents a new frontier of urban luxury. Known for its baroque architecture, the city is seeing an increase in high-end residential projects.
What the new luxury complexes in Lecce offer:
- Exclusive amenities: Residential complexes in the Mazzini neighborhood include spas, private gyms, condominium pools and roof gardens with city views.
Sustainability: Buildings constructed with eco-friendly materials and equipped with advanced energy-saving technologies, such as solar panels and water recovery systems.
Strategic locations: Penthouses in the historic center of Lecce combine modern design with breathtaking views of the baroque churches, offering the possibility of living near theaters, international schools and starred restaurants.
Workation and Southworking: new opportunities to live and work in Salento
The spread of remote working has made possible a new lifestyle called "workation", a combination of work and vacation. Salento is one of the most popular destinations for this experience, thanks to its ability to combine stimulating environments and relaxation.
An example is the startup Holiwork, founded in Lecce by Chiara Oliva and Georg Sauter. Holiwork offers a unique experience that combines luxury accommodation, nature, culture and gastronomy for those who want to work remotely in Salento. It is a new vision of the territory, no longer just as a tourist destination, but also as a place for professional growth and personal well-being.
Conclusions: Salento as a place of future living
Whether it is living in a masseria surrounded by greenery, working remotely with a sea view or choosing a luxury penthouse in Lecce, Salento offers housing solutions that meet the needs of the new living. This territory is the emblem of an authentic, sustainable and well-being-oriented lifestyle.
If you are looking for your ideal home, rely on real estate professionals to explore the opportunities that Salento has to offer. The future of modern living is here, between the beauty of nature and the innovation of new technologies. Don't miss the opportunity to turn your dream into reality.
The Bagnarole: Witnesses of the Belle Époque in Italy and Salento
The Belle Époque in Italy was a period of prosperity and innovation, spanning from the late 19th century until the outbreak of the First World War in 1914. Characterized by social, economic, and cultural changes, this period coincided with industrial development, technological progress, and artistic renewal. Italy saw an acceleration of industrialization, an expansion of railway infrastructures, and a growth of cities as economic and innovation centers. Technological advancements such as electricity, the telephone, and the automobile transformed the country, while the growth of the urban bourgeoisie and middle class led to improvements in living conditions. Culturally, the Liberty artistic movement influenced architecture and design, while literature, music, and theater flourished. Italian cities became important tourist destinations for the European elite, contributing to the development of tourism.
In particular, seaside tourism began to take hold, transforming the coasts into leisure spots for the bourgeoisie and aristocracy.
It was in this context that the “bagnarole” were born, iconic structures of this new era of leisure and well-being.
The Bagnarole: A Dive into the Past of the Belle Époque
The "bagnarole," mostly wooden mobile cabins mounted on wheels, were used to allow bathers to change and immerse themselves in the sea waters away from prying eyes. These structures, pulled by horses to the shore or even halfway into the water, offered discreet shelter in line with the decorum norms of the time, which required that women could enter and exit the water without being seen.
Born in the United Kingdom at the end of the 18th century, the "bagnarole" quickly spread throughout Europe during the Belle Époque, also becoming widely popular in Italy, especially in seaside resorts frequented by nobility and wealthy bourgeoisie seeking relaxation and social life.
Bagnarole in Salento: The Elegance of Santa Maria di Leuca
The jewel of summer vacations in Salento at that time was Santa Maria di Leuca.
The fashion for summer stays in coastal areas, which pervaded all social classes, led to the development of different types of "bagnarole":
- Bagnarola a conca: This was the type for the common people, essentially a natural hollow between rocks by the sea used by those who, not knowing how to swim, were looking for a safe place. Besides this natural "hole," there were also artificial hollows, indicating attempts at larger excavations.
- Uncovered bagnarola : A kind of bathtub carved into the cliff, generally quadrangular in shape. Almost all had a ladder to descend into the water, which entered through two openings and reached a very low level, so that both children and adults who could not swim could bathe. Originally, these "bagnarole" were reserved, so it was difficult to access them without permission. Each had the name of its owner, who belonged to a middle social level.
Wooden bagnarola: Dug near the shore like the uncovered "bagnarola," with a quadrangular shape, sea access openings, and stone ladders, it served as the base for a wooden covering. Practically, the lower part, that is, the base, had water; then the wooden floor with ladders to descend into the water, followed by all-wooden side panels that closed the structure. The function of the wooden "bagnarola" was to create a private, secluded environment sheltered from the sun. These "bagnarole" no longer exist today; they were active until the 1960s. These "bagnarole" were usually reserved for upper bourgeoisie families. The structure would be set up at the beginning of the summer season and removed with the first autumn storms in early October.- Stone bagnarole: The fundamental structure was the same, a section of the cliff carved into a quadrangular shape with two openings to the sea. Covered by a stone construction, it was accessed through a side door leading to a landing from which one could descend into the water via a stone ladder. The structure’s purpose was to offer the possibility of undressing and having a completely private environment. Therefore, a cabin that guaranteed a covered bath without being seen and maintaining the fair skin tone, as was the fashion of the time. These generally had a circular, hexagonal, or even dodecagonal shape. Located right by the sea, almost always in front of the villa to which they belonged. These were also a sign of nobility. This is because, starting from the late 1800s, numerous villas in Liberty and Moorish styles began to be built in Santa Maria di Leuca, in line with the era’s standards, as a representation of the growing power of the upper bourgeoisie and nobility. The villa owners could afford the luxury of reserving a piece of the coast and building their noble cabin in the style and color of their villa. It was a sign of "ownership" and "identity."
Today, only three stone "bagnarole" remain: two large ones, those of Villa Meridiana and Villa Fuortes, and a small one built on unexcavated rock near the pier (the former English dock).
Other examples of "bagnarole" in the Salento area can be found in Santa Caterina (a marina of Nardò) and Marina Serra (a marina of Tricase).
"The Bathing Room" in Santa Caterina di Nardò is accessible from two side openings to the room, one of which must have been the main entrance because the door hinges that closed the entrance are still visible; the other is very rugged and difficult to reach. But the most suggestive entrance is the semi-submerged hole that allows access from the sea. One holds their breath, takes two strokes, and is transported from a crowded beach to a place suspended out of time.
In Marina Serra, we find a "bagnarola a conca," known as the "Grotta dell’amore or degli innamorati" (Cave of Love or Lovers), and the "Grotta Spinchialuru," where near the opening, a cavity was created for undisturbed bathing.
Bagnarole in the Rest of Europe: An International Phenomenon
Beyond Italy, the "bagnarole" also became a symbol of the era in other European locations. In the United Kingdom, for example, the "bagnarole" were ubiquitous along the coasts of Scarborough, Brighton, and Whitby. In France, they were
found in Deauville and Trouville on the Normandy coast, where they were used by French aristocrats and the Parisian bourgeoisie. In Belgian seaside resorts like Ostend, along the Baltic Sea coast in Germany, and on the elegant beaches of Scheveningen in the Netherlands, "bagnarole" became an integral part of the landscape.
Each country adapted them to its style and needs, but they all shared the same purpose: to allow discreet sea bathing while respecting the era’s strict moral standards.
The Bagnarole Today: A Historical and Cultural Rediscovery
Over time, the "bagnarole" lost their original function and were slowly abandoned or destroyed. However, in recent years, there has been a renewed interest in these iconic structures, which represent a window into the past and the elegance of the Belle Époque.
In some places in Europe, such as the British coast or the beaches of Deauville, some original "bagnarole" have been restored and preserved as tourist attractions and historical testimonies. In Italy, particularly, the recovery of "bagnarole" has been more sporadic, but there are examples of faithful reconstructions in places like Santa Margherita Ligure or in museums related to sea culture.
In Santa Maria di Leuca, although many original "bagnarole" have been lost, interest in this historical heritage remains alive. Some restoration and recovery projects have been initiated to preserve the memory of these fascinating cabins. In 2015, the "bagnarola" of Villa La Meridiana was severely damaged by a violent storm, creating a breach in one of the walls, which was promptly repaired. The rediscovery of the "bagnarole" is not just a way to enhance an architectural element, but also to relive and tell a story of elegance, traditions, and love for the sea.
The "bagnarole" represent much more than simple mobile structures: they are witnesses of an era when leisure, well-being, and elegance were fundamental values. Their rediscovery and enhancement offer a fascinating journey back in time, allowing us to relive the atmosphere of the Belle Époque and appreciate the history of Europe's seaside resorts, including the enchanting ones of Salento.
As interest in the "bagnarole" continues to grow, it becomes increasingly evident that their charm is not only tied to the past but also to the desire to reclaim a refined lifestyle linked to the pleasure of small things. Who knows, maybe one day we will see them return to our beaches as a symbol of a time that still fascinates and inspires.
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 Via Francigena in Salento: let's discover the itineraries between history, nature and architecture
Historically, Via Francigena, or rather Vie Francigene, refers to a group of streets that connected the territories dominated by the Franks (now France and Germany) to Rome in medieval times. Today we talk about Vie Francigene also to indicate those cultural itineraries towards Rome, intended for modern pilgrimage and sustainable tourism.
The saying "all roads lead to Rome" can ironically give an idea of how many Vie Francigene there are on a theoretical level. The history of this path has its origins in the Middle Ages, when pilgrims had to reach one of the peregrinationes majores, to get to Jerusalem, Santiago or Compostela. The pilgrims' journey, in fact, started from Southern Italy to reach Northern Europe or, on the contrary, began in Rome to reach Puglia, where they embarked for the Holy Land. In fact, pilgrims in the Middle Ages started from their home and traveled not only the 'road' network of the time, but also all those paths and pavements which least exposed them to the risk of assault or accidents but which at the same time passed through places where it was possible receive hospitality and food.
The Via Francigena in Salento extends along the heel of the boot for approximately 120 km: a journey into the culture of this strip of land which boasts countless unmissable stops, between the main cities such as Lecce and Otranto, the thousand-year-old city that looks to the East, admiring fascinating architectural works, passing through villages and countryside, where there is no shortage of ancient testimonies of pilgrimage stages.
Alto Salento, the origins of the route
The route starts from the city, or rather from the port of Brindisi, and one of the symbolic elements are the Two Columns of the Appian Way, arrival for those who had to leave for the Holy Land, or departure for those who had to go to Rome. For a long time the columns were considered terminals of the Appian Way, but the placement of the columns on the rise overlooking the port of Brindisi, and the relationship with the view of the mouth of the same, demonstrate that they were raised with a celebratory intent, perhaps to support of two bronze statues.
Another obligatory stop for anyone passing through Brindisi is the Church of San Giovanni al Sepolcro, very ancient, from the Norman age (11th century), built on several layers of the city's history. It is a small re-enactment of the Holy Sepulcher in Jerusalem, with a circular plan to indicate the circularity of life and spirituality that rises upwards, accompanied by cycles of frescoes and carved capitals.
Continuing the journey, close to Torchiarolo, we find Valesio, an ancient city that was first Messapian, then Roman, then Byzantine, which remained in existence until the year 1000 AD. approximately as a medieval village, then uninhabited, literally crossed by the Via Traiana-Calabra. It is a very important city in antiquity, where many excavations have yet to be carried out, but in which many coins from various parts of the Mediterranean have been found so far, and this makes us understand that this place was the hub of exchanges, commerce and passage of people from many different places, which still has a lot to tell.
On the stretch of road that leads us from Valesio towards Surbo, we come across a historical-architectural asset of great value, which since 2012 has been managed directly by the FAI
(Italian Environment Fund), namely the Abbey of Santa Maria a Cerrate.Dating back to the 11th century, although according to archaeological excavations was enlarged until it became one of the most important monastic centers in southern Italy: in 1531, when it came under the control of the Hospital of Incurables of Naples, the complex included, in addition to the church, stables, accommodation for the farmers, a well, a mill, two underground oil mills. The sacking of Turkish pirates in 1711 plunged the entire center into a state of complete abandonment which continued throughout the 19th century. Today, after a complex restoration, the Abbey can be visited again and represents a splendid example of Apulian Romanesque architecture embellished with important frescoes that make it unique in the Byzantine world. there were previous settlements, during the 12th century it was also a center of production (especially of cereals), and was inhabited by Byzantine monks who were fleeing from Turkish persecution in Byzantium. The locality was an important religious and cultural hub. the Abbey
In the countryside of Lecce, on the border with the municipality of Surbo, there is another very important stop on the Via Francigena Salentina, namely the Church of Santa Maria d'Aurìo.
Dating back to the 12th century, it is the oldest architectural testimony of the medieval farmhouse of Aurìo, which disappeared between the 15th and 16th centuries. The church was another place that was crossed before arriving in Lecce, and in addition to being full of crosses, a distinctive and characterizing sign of the passage of pilgrims, it also has a series of boats engraved on its facade, and this is a sign that the pilgrims they were preparing for the journey to go to the holy land and had to cross the Adriatic. The vast majority of these travellers, especially those who came from northern Europe, had never seen the sea, and the experience of navigation was terrifying for them, because it happened that due to rough seas and storms, ships were shipwrecked and pilgrims died. drowned. The design of the ship was engraved almost like a votive offering, to ensure that the church protected their journey. In the event that they managed to arrive from the east to Salento, after crossing the stormy sea, the engraving became an ex-voto for the grace received.
From Lecce towards south Salento
At the entrance to Lecce we are welcomed by the former Olivetan Monastery, and the ancient monastery, more than a secluded place, was a strategic site, chosen in the 12th century by Tancredi d'Altavilla, the last Norman count of Lecce, to build a sumptuous religious complex, assigning it to the Benedictine Order. The abbey aroused amazement from the beginning due to its magnificence and the church, dedicated to Saints Niccolò and Cataldo, reached "the highest level" among medieval architecture in the Terra d'Otranto. In 1494 the Olivetans (Benedictines of Monte Oliveto) arrived, replacing the pre-existing community, now in extinction. While the church was preserved and enriched, the convent was rebuilt in majestic form.
The Via Francigena passes through Lecce, where the Church of San Nicolò dei Greci is located in the historic center.
It is a Salento church built above an ancient church dating back to the 9th century, of which the ancient crypt and the apse part still exist. Ancient paintings are still present in the crypt. The small church was called the “Church of San Giovanni del Malazio” and at a certain point it had been abandoned. In the rear part of the church there is a cistern, which collected the waters of an aquifer of the Idume river, the river of Lecce.
Proceeding towards the fortified city of Acaya, and crossing the countryside of Melendugno, you arrive in the area of Grecìa Salentina, and one
of the places most frequented by travelers was that of Carpignano Salentino, where the baroque Parish Church from the 16th century stands out, which houses the Crypt of Santa Cristina dug into the tuff between the 8th and 9th centuries. The Crypt is the only place from this era where the client and the fresco painter are known, as their names are mentioned in the numerous writings in Greek that cover the walls of the crypt. The frescoes on the walls, which are more than a thousand years old, have been preserved very well and the crypt is the only case in the entire Mediterranean where we have such a wealth of data. This type of frescoes continues to remind us that at the time, for those crossing the Via Francigena, the main point of reference was Constantinople, where Greek was spoken.
We continue between ancient farms and a lush pine forest until we cross the village of Cànnole, where we find the Village of Torcìto, which was initially a village, then in the 12th
century it became a Masseria, to which over the years further structures were added, such as the dovecote tower and the Church dedicated to San Vito. The Masseria di Torcìto is surrounded by lush vegetation, which has accompanied it over the centuries, and which today has given life to the Torcìto Natural Park, much appreciated by trekking enthusiasts.
We then arrive at the eighteenth-century Sanctuary of Monte Vergine in Palmariggi, which houses a precious crypt from the Byzantine period, on whose eastern side there was an altar containing a half-length fresco of the Madonna with the Baby Jesus in her arms.
Giurdignano follows with its "Megalithic Garden", an area rich in dolmens and menhirs, and we remember in particular the San Paolo Menhir, another stop on the Francigena route, where a crypt was excavated inside the rocky spur, probably from the Byzantine, inside which you can see a fresco representing the taranta, a poisonous spider that bit women, the so-called tarantate, of whom Saint Paul is the protector.
In the smallest municipality in the whole of Salento, Giuggianello, still between dolmens and menhirs, there is the ancient Masseria Quattro Macine, a Byzantine settlement dating back to the 7th century, attacked by the Turks over the years, rebuilt, used as a post station, tobacco factory, farm .
We then enter the gully of the Idro Valley, and pass through the Grotta di Sant'Angelo, a partly destroyed church-crypt, where some traces of the frescoes that decorated the walls of the cave are still evident, representing sacred figures, people in tunics, the faces of two women, and saints. Although the frescoes are difficult to identify today, the Sant'Angelo cave is undoubtedly one of the most evocative and interesting in the entire Idro valley.
We then head to the center of Otranto with the splendid Cathedral of S.Maria Annunziata,
built on the remains of a Messapian village, a Roman domus and an early Christian temple, it was founded in 1068. It is a synthesis of different architectural styles including Byzantine, early Christian and Romanesque elements. The 13th century frescoes were almost all destroyed by the Turkish invasion of 1480. However, the precious mosaic floor remains intact, executed between 1163 and 1165, of great scenic impact due to the large decoration representing scenes from the Old Testament, chivalric cycles, medieval bestiaries. The images, arranged along the development of the Tree of Life, retrace the human experience from original sin to salvation. The crypt is very particular from an architectural point of view, which dates back to the 11th century and is a miniature of the famous Cistern of Theodosius or the Mosque of Cordoba. It has three semicircular apses and is characterized by forty-eight bays interspersed with over seventy columns, semi-columns and pillars. The singularity lies in the diversity of the support elements, coming from ancient and early medieval buildings, from the various figurative repertoire. The surviving frescoes which span a chronological span from the Middle Ages to the sixteenth century are of great value.
No less important is the Church of San Pietro, also in Otranto, it is one of the most representative medieval buildings of the South of the Byzantine building tradition and remains the highest and most vivid expression of Byzantine art in Puglia. The sacred building probably represented the first basilica of the city, elected metropolis in 968 and directly dependent on the patriarchal seat of Constantinople. Its dating has long been the subject of debate among scholars, but from the analysis of the structure, the frescoes and the inscriptions in Greek, it seems attributable to the 9th-10th century. In the three apses at the back there are splendid Byzantine-style frescoes dating back to the 10th-11th century
After passing Cocumola, where the Menhir of the Cross stands in Via Savoia 26, you walk among pine forests and olive groves up to Vignacastrisi.
It is then the turn of Andrano, in whose countryside we find the Crypt of Attàrico; it is believed that from the 8th to the 10th century the cave hosted Basilian monks, and two frescoes are still present. Initially as a refuge, and later as a spiritual hermitage, the monks in the meantime moved to the nearby abbey of Santa Maria del Mito, a cultural center and totally self-sufficient farm, located between the fiefdom of Tricase and that of Andrano.
The final destination
The route of the Via Francigena Salentina is almost over, and about 1 km from Santa Maria di Leuca, near today's Masseria Coppola, on the SS 275, the last stop was the ancient Cappella dei Lazzari, where illnesses were treated . Built in the 14th century. by the Grand Dukes of Tuscany for the Florentine sailors, who frequented the port of Leuca in large numbers, unfortunately it no longer exists.
The last stop, and undoubtedly the most significant, is in Santa Maria di Leuca, at the Basilica – Sanctuary S. Maria de Finibus Terrae, which has its roots in the early days of Christianity. It stands where there had been the temple dedicated to the goddess Minerva of which, upon entering the church, on the right, an relic is preserved: the altar or a part of it, on which sacrifices were offered to the goddess. Tradition has it that the apostle Peter in 43 AD. he landed in Puglia to return to Rome after his journey to the East. On this occasion, the temple was dedicated to the Savior and
converted into a Christian sanctuary. It was precisely here, in fact, that Saint Peter began his work of conversion, starting from the Salento population and then continuing throughout the
West. The testimony of the apostle's passage is the Petrina Cross placed in front of the Sanctuary. Only at a later time was it consecrated to Santa Maria di Leuca. Precisely because of its highly coveted position, the sanctuary was unfortunately targeted numerous times over time, in particular by the Turks and Saracens, as an indirect attack on the Christian religion. It was destroyed five times, the last of which in 1720. The numerous reconstructions obviously gave the Sanctuary a different appearance from the original one, but the faithful wanted to maintain the structure of the perimeter walls.
Conclusions
The path we followed takes us back in time thousands of years, and allows us to understand and discover the most ancient origins of the architectural beauties that dot the route of the Via Francigena Salentina, starting from small treasure chests, such as the crypts, up to arrive at immense treasures, such as abbeys and farms.
They are places that are still part of our present today, and which will enrich our future.
The best routes in Salento: trekking, walking, cycling, motorbike or other First itinerary: Otranto - Santa Maria di Leuca coast road
The recent success of Salento as a tourist destination is mainly due to the splendor of its coast and the beauty of the capital Lecce, but there is much more to discover: archaeological, naturalistic, landscape and food and wine treasures are widespread throughout the Salento peninsula. A great way to discover them all is to pack your backpack and set off on an adventure, along itineraries, to be covered on foot, by bike, by motorbike or by car, which are a journey in stages between the pleasures of nature, food, culture and local history, let's see some of them in this and in the next posts on our blog.
We begin our journey by car or motorbike, on the magnificent coast road Otranto - Santa Maria di Leuca, undoubtedly one of the most fascinating tours of Salento, as well as one of the most beautiful panoramic roads in Italy. While skirting the Adriatic, the jewels of the Salento coast follow one after the other: on one side the cliffs overlooking the sea, the ancient defense towers, the caves and inlets, on the other side the centuries-old olive trees, the typical dry stone walls, many small town halls rich in history and artistic beauties, with their bars overlooking the historic centers, where you can stop to cool off with a pasticciotto and an ice coffee.
It starts from Otranto, after visiting the city center and walking on the ramparts, continue towards the south and entering the vegetation you can admire an unusual sight: an emerald green lake in a hollow of the intense red soil, surrounded by the green of the marsh vegetation, the result of a disused bauxite quarry where nature has magically created a new ecosystem. A few kilometers and another spectacle awaits us, the Punta Palascia Lighthouse, the easternmost place in Italy, from which you can admire a breathtaking panorama. Continuing to drive always keeping the sea on the left, we continue to admire the ever new views that the cliff and the vegetation create at every turn. A few more kilometers and we arrive in Porto Badisco, where we can admire the bay (one of Enea's possible first landings in Italy) and, if the season permits, indulge in an unmissable lunch based on the freshest sea urchins. After this tasty lunch break we leave again, we cross the pretty Santa Cesarea Terme, which, as the name suggests, is also a renowned spa. Immediately behind Santa Cesarea, we find the beauty of Porto Miggiano, a rocky cove with a sandy bottom, located in an inlet overlooking the sea, protected by an ancient watchtower, it is one of the most spectacular beaches of the Puglia, sheltered from the winds; the natural play of lights, colors and the turquoise sea make it the ideal place for snorkeling. We still follow the road and we find the suggestive Zinzulusa cave, created in prehistoric times by marine erosion, is a spectacle of stalactites and stalagmites that are reflected in the turquoise water inside a majestic cavity. We continue through Castro and from here we reach the marina of Marittima, where there is another beautiful inlet, that of Acquaviva, so called because of the cold water springs that flow from the rock. Immediately after there is the marina of Andrano, with the unmissable seaside resorts, such as the Green Grotto, after that there is the splendid Tricase Porto, one of the most evocative and elegant holiday resorts of the entire eastern coast of Puglia. Here we can choose whether to continue along the sea or to allow ourselves a detour towards the interior of the territory, where there are many municipalities that are certainly worth a visit, such as Specchia, surrounded by centuries-old olive trees, and recently inserted among the most beautiful villages in Italy. Among pretty alleys and stairways stand out the sixteenth-century Risolo palace and the fifteenth-century cathedral in Piazza del Popolo; not far away the Baronial Palace, the Byzantine Church of Santa Eufemia and that of the Black Franciscans, adorned with valuable frescoes. It is also worth giving yourself a visit to the ancient underground oil mills of the town, restored and open to the public, where you can often and willingly also make deserving tastings of local products.
If, on the other hand, we have chosen to continue along the coast, the last kilometers of the coastal road start from Marina Serra, to the end of the earth, in the middle of the Ciolo bridge, which dominates one of the most loved and photographed inlets of the entire Salento coast.
The time for a last look at the enchanting coast of Salento and we arrived in Santa Maria di Leuca: in front of us all that remains is the blue of the sea.
We visit the Sanctuary on the promontory, the very high lighthouse, the aqueduct waterfall and the eclectic style villas, built by local nobles in a competition of luxury and eccentricity. Time to have dinner and we can enjoy the night on the bustling promenade.