Basilica di Santa Croce — Attraction in Lecce

In the area of ​​the current basilica, Gualtieri VI of Brienne had already founded a monastery in the fourteenth century, but it was only after the mid-sixteenth century that it was decided to transform the area into a monumental area. To find the land, the houses and properties of the Jews were requisitioned, driven out of the city in 1510. Work on the construction of the basilica continued for two centuries, between the 16th and 17th centuries, and involved the most important architects of the time .

The first phase of construction, begun in 1549, ended by 1582 and saw the construction of the lower part of the facade, up to the enormous balcony supported by telamons depicting men and animals. The dome was completed in 1590. According to art historian Vincenzo Cazzato this first phase saw the emergence of Gabriele Riccardi's personality. A subsequent 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. Cesare Penna and Giuseppe Zimbalo subsequently worked on completing the work. The first part is due to the construction of the upper part of the facade and the beautiful rose window (near which the date 1646 is carved), to the second one probably the fastigium is attributed to the top of the structure.

The façade is composed of six columns with smooth stems that support the entablature and divide the structure into five areas. The main portal, built in 1606, has pairs of Corinthian columns and displays the insignia of Philip III of Spain, Maria d'Enghien and Gualtieri VI of Brienne. The coats of arms of the Celestine Congregation are displayed on the side doors. The entablature is surmounted by a succession of telamons depicting grotesque figures or fantastic and allegorical animals that support the balustrade, adorned with thirteen cherubs embracing the symbols of temporal power (the crown) and spiritual (the tiara).

The second order of the façade is dominated by the large central rose window of Romanesque inspiration. Profiled from bay leaves and berries, it has three bas-relief orders. The rose window is well highlighted by two Corinthian columns, which separate the central area from the lateral ones in which there are niches with the statues of Saint Benedict and Pope Celestino V. Looking at the rose window, to his left (exactly at nine o'clock), we note the self-portrait of Antonio Zimbalo. At the ends, to close the profile of the second order, stand two large female statues, symbolizing the Faith and the Fortress. The tympanum, with the triumph of the Cross in the center, closes the facade at the top. Following the iconographic program typical of Benedictine spirituality (to which the Celestines belonged) and Augustinian, the façade, as reported by the dedicatory cartouche on the main portal, depicts the triumph of the Banner of the Cross, with allusion, therefore to the exaltation of the sacred wood , whose relic is preserved at the altar of the left transept. The complex figurative system of the telamones that encompasses all cultures and human origins emphasizes the catholicity of the Church and the redeeming power of Christ over the whole humanity.

The Latin cross interior was originally divided into five naves, two of which were later reabsorbed into side chapels added in the 18th century. The vaults of the naves are supported by two orders of columns, in all eighteen, the first two are leaning against the outer wall, the last four paired border the transept and the triumphal arch. The nave is covered by a sumptuous coffered ceiling in walnut with gilding, while the aisles are surmounted by cross vaults. In the intersection of intersection of the two arms of the cross rises a tall dome decorated with festoons of acanthus leaves, little angels and floral motifs. Along the aisles there are seven deep chapels on each side, inside which there are splendid richly decorated altars. Altogether the church receives sixteen...

La basílica de la Santa Croce es el mayor y más bonito exponente del barroco leccese. Su fachada es un magnífico compendio del estilo arquitectónico más característico de la ciudad de Lecce, que lo convierte en uno de los monumentos más visitados de la ciudad. En este lugar se construyó en el siglo XIV un pequeño monasterio de la orden de los Celestinos, orden benedictina creada por el papa Celestino V, basada en la orden de san Benito. A comienzos del siglo XVI, se amplió el monasterio, confiscando las casas y terrenos adyacentes que habían pertenecido a familias judías expulsadas de los reinos de Nápoles y Sicilia en 1510. En 1539 el emperador Carlos V ordenó erigir un castillo y ampliar las murallas como protección frente a los ataques de los turcos otomanos. A lo largo del siglo XVII se realizaron las obras de un nuevo monasterio y su iglesia, siguiendo en ambos casos el estilo barroco leccese que se estaba llevando a cabo en otras iglesias y palacios de la ciudad. A partir del año 1810 la orden de los Celestinos dejó de existir en Italia quedando el monasterio y la iglesia totalmente abandonados. Actualmente, el antiguo monasterio ha sido reconvertido al palacio Celestini, como sede de la prefectura y de la provincia. Lo primero que impacta es la majestuosa y magnífica fachada de la iglesia, conformada en dos cuerpos. El cuerpo inferior, siguiendo aún un estilo renacentista, con un gran portón adintelado, sobre el que se plasma el escudo real de Felipe III, flanqueado por dos pares de columnas jónicas. En los laterales hay dos puertas con los escudos de la ciudad y la orden de los Celestinos y seis grandes columnas con capiteles corintios ricamente decorados con figuras humanas, de animales y quimeras. Estas columnas sostienen un entablamento con un friso decorado con figuras humanas y de animales. Sobre este entablamento se asientan trece figuras, que a su vez sustentan una gran balaustrada. Algunas de estas figuras describen a figuras humanas encorvadas que sujetan la balaustrada, representando a otomanos vencidos tras la batalla de Lepanto en 1571. Las demás figuras son símbolos de los contendientes que integraron la Liga Santa contra el imperio Otomano: el león de Venecia, el grifo de Génova o el atlante Hércules que representa el Imperio Español de Felipe II. El cuerpo superior es uno de los exponentes barrocos más impresionantes de Italia con una rica decoración. Está presidido por un gran rosetón profusamente ornamentado, flanqueado por cuatro columnas corintias con capiteles decorados con aves y ángeles y dos nichos con las figuras de san Benito y el Papa Celestino V. A los lados se levantan dos esculturas femeninas alegóricas de la Fe y la Fortaleza. Coronando la fachada se erige un frontón entrecortado con una cruz. La basílica tiene planta de cruz latina dividida en tres naves, con la central más alta que las laterales. Las naves están separadas por doce columnas corintias decoradas con motivos vegetales y las cabezas de los 12 apóstoles. Al fondo de la nave central se encuentra el presbiterio, enmarcado por un gran arco triunfal, con un ábside poligonal en el que se halla el altar mayor de mármol blanco. En el crucero se levanta la cúpula, una bóveda semiesférica sustentada sobre un tambor con cuatro ventanales que dan luz natural a la iglesia. Los órganos situados a los lados del presbiterio son de finales del siglo XX. El techo de la nave central está revestido con casetones de madera y un gran lienzo de la Santísima Trinidad. En los laterales se abren varias capillas ricamente decorados con altares y columnas salomónicas hechas con la típica piedra leccese. La basílica está abierta de 9 a 18 horas y en verano hasta las 21 horas. La entrada cuesta 11 euros/pax, aunque hay una entrada combinada a 21 euros/pax para visitar cuatro monumentos: la Santa Croce, la catedral y las iglesias de Santa Chiara y San Matteo. Las entradas se adquieren en la basílica o en el museo diocesano en la piazza del Duomo. Visita obligada en Lecce,observando cada detalle de su...

Approaching Basilica di Santa Croce in Florence, Italy, is an experience that takes your breath away. The Gothic masterpiece stands tall, its facade has a mesmerizing blend of pink, green, and white marble. Stepping inside, I find myself immersed in a vast interior filled with stunning frescoes, chapels, and the final resting places of legends like Michelangelo and Galileo.

The detailed craftsmanship in chapels like Bardi and Peruzzi is captivating, while the simplicity of Cappella dei Pazzi and the beauty of stained glass windows create a spiritual ambiance. Exploring the peaceful cloisters surrounding the basilica, with their greenery and timeless sculptures, offers a serene escape.

Piazza Santa Croce, the square in front of the basilica, becomes a lively gathering place for both locals and tourists, adding vibrancy to the surroundings. Basilica di Santa Croce, for me, is a journey through time, a celebration of Florence's rich history, and an appreciation of human achievement in architecture and art. Truly a ...