Palatine Church of Acquaviva delle Fonti

The Cathedral of Acquaviva delle Fonti is one of the four Palatine basilicas of Puglia, together with the Basilica of S.Nicola of Bari, the Cathedral of Altamura and that of Monte S. Angelo in Foggia. Built during the sixteenth century, when the fief of Acquaviva was owned by the Dukes of Atri, it collects the Romanesque heritage and projects it into the Renaissance.

The construction of the Cathedral of Acquaviva delle Fonti began in 1529 at the behest of Giovanni Antonio Donato Acquaviva, ninth Duke of Atri and son of the more famous Andrea Matteo III. The works were continued by his son Giovan Girolamo and concluded in 1594 under the direction of Alberto, son of Giovan Girolamo. The cathedral was consecrated in 1823 by the Archbishop of Bari, Ascanio Gesualdo. Although tradition attributes the foundation of a previous church to the Normans, towards the middle of the 12th century, no archaeological evidence has been found to confirm the existence of this structure, which was dedicated to Sant’Eustachio, patron saint of the city, just like the current cathedral.

During the early 16th century, the old church was in such a condition that it needed to be rebuilt. This operation was part of a large urban planning project for the city, which the Dukes of Atri pursued with foresight. Within a few decades, the old Norman castle was transformed into a ducal palace, while the obsolete defensive systems, such as the octagonal tower in Piazza dei Martiri, were gradually abandoned. The official inauguration of the construction site of the new cathedral took place on 3 October 1529, during a solemn ceremony presided over by Archpriest Cesare Lambertini, on the occasion of the laying of the first stone.

The cathedral’s planimetric layout draws inspiration from famous Romanesque buildings, such as the Cathedral of Bari, the Basilica of San Nicola and the Cathedral of Bitonto. It has a longitudinal Latin cross plan, a stepped choir and a semicircular apse contained in a rectilinear profile of the rear wall.

Although the construction flourished in the sixteenth century, the transept, which presents numerous traits of a conscious mannerism, maintains Romanesque echoes, while the body of the three naves shows a notable Renaissance musculature. The latter is particularly evident in the two sequences of three large arches of different widths, which support the weight of the walls, vaults and roofs, all resting on just four pillars.

The main façade, which faces east and appears in the space of the square, reveals, even from afar, its Mannerist complexity. Observed from the former castle esplanade, it appears majestic and rich in details. Romanesque influences can be noted in the prothyrum, which recalls the memory of ancient Rome, as well as a division of the facing into pilasters and architraves. This arrangement, combined with the large rose window, strongly evokes moments of classicism, making the façade an element of great architectural charm.