Lecce
Visitors to Lecce will likely be impressed by this magnificent city. It’s been coined the “Florence of the south”, a comparison that aptly describes Lecce’s artistic wealth, even though there are few, if any, actual resemblances between these two cities.
Walk down any of the narrow streets and you’ll come across lovely arches, mullioned windows, and balconies supported by intricately carved figures. Enter a square, and a majestic church or palazzo awaits to stun your eyes.
A flourish of playful, ornamental details characterizes the local artistic style, known as the barocco leccese, which reached its height between the mid 16th and mid 17th centuries. Using a malleable, yellowish-white local sandstone known as the pietra leccese, local stonecutters adorned edifices with spiral columns and pilasters, garlands, festoons, leaves, cornucopia, cherubs, as well as representations of real and mythological animals. This abundance of symbols grounded in nature and fertility recalls a sensibility that’s closely tied to peasant culture, and indeed, the architectural gems of Lecce are indebted to highly skilled local artisans, instead of architects.
Right around sunset is the best time for a stroll through the city and to take in the delicate play of colors, lights and shadows. Here are some neighboring highlights and must-sees.
The Basilica of Santa Croce:
Built between 1549 and 1695 by Gabrielle Riccardi, Cesare Penna and Francesco Antonio Zimbalo, the Basilica’s façade depicts figures that symbolize the triumph of the Holy Cross against pagan myths. Muslims supporting the balcony represent the infidels. Others are anthropomorphic or zoomorphic figures (lions, grifons, eagles and dragons), while on the balustrade angels support the symbols of religious power.
The rose window framed by three concentric rings of the winged cherubins, grape and pomogranates, evoke the seasons.
Piazza Duomo:
Unfolds unexpectedly in front of your eyes walking from Via Palmieri, via Libertini and Corso Vittorio Emanuele. It’s foundation was set in 1114, but its present appearance is a result of the work of Giuseppe Zimbalo, who modified the original medieval structure in the second half of the 17th century, adding a lateral façade (the one facing the piazza) with typical ornaments of the time and with the statues of Sant’Oronzo (central), San Giusto and San Fortunato. He prioritized the side because it was the part people came upon first when they entered the piazza.
Roman Amphitheatre:
2nd century A.D. – it occupies almost the entire square on Piazza Sant’Oronzo. The Arena was 8 meters under actual street level.
