Saint Nicholas in Apulian artistic iconography

Saint Nicholas is a central figure in the panorama of sacred art in Puglia. The most interesting testimonies are found in the rock churches of Puglia. He is the third most represented figure after Christ and the Madonna. His veneration dates back to a period before the translation of the relics to Bari in 1087. The first information on his existence comes from ancient texts, including the “Vita Nicolai Sionitae”, which mention Saint Nicholas of Myra and his celebrations.

Representations of Saint Nicholas have evolved over time, with his iconographic appearance stabilizing from the 10th century onwards. The rock churches of Puglia, influenced by Byzantine art, show Saint Nicholas in various contexts, often paired with the Madonna or holy bishops. With the Norman occupation, his iconography was influenced by artistic styles from Northern Europe.

Wooden icons, such as that of Santa Margherita in Bisceglie (now preserved in the provincial art gallery of Bari) testify to the diffusion of her figure.

In the rock churches, stories of his life are told, such as the miracle of the dowry to the three girls or the rescue of the three soldiers. In this case we are in the crypt of the Madonna dei Miracoli inside the Basilica-Monastery of the Madonna dei Miracoli in Andria.

These representations, although varying in details, maintain distinctive elements such as the bishop's clothes and the pastoral staff. In this other case we find ourselves in the crypt of Santa Cristina in Carpignano Salentino.

Saint Nicholas is often depicted with an imposing physical appearance, and his iconography is enriched with details such as the pastoral staff and the book of the Gospel.

In Supersano, in the crypt dedicated to the Madonna di Coelimanna, you can observe this beautiful Byzantine fresco.

In some works, he is depicted sitting on a throne, a rare but significant image, which underlines his episcopal dignity. In this case we have a depiction preserved in the church of San Nicola dei Greci in Altamura.

The presence of Saint Nicholas is deeply rooted in the Apulian tradition, with many rock churches dedicated to the Saint of Myra, and with stories that portray him as a protector and benefactor. In Mottola, inside the rock complex, there is the cave of Saint Nicholas.

The rock church of San Nicola, located in Palagianello, represents a further example of iconography linked to the Saint. In particular for its Déesis, where surprisingly Saint John the Baptist is replaced by Saint Nicholas. This particular arrangement is not the result of a simple expressive freedom of the artist, but rather reflects a local iconographic tradition that responds to emotional motivations on the part of the client, linked to the cult that the saint enjoys in that specific area.

In Fasano, however, a beautiful effigy of San Nicola is preserved in a crypt set in the ancient riverbed (lama d'Antico).

After the Gregorian Reform, the image of the Turkish saint changed from the Byzantine one to a more realistic and austere one, typical of the Latin tradition. In some places, such as Grecía Salentina, Byzantine art and Orthodox worship remained for another two centuries, however the first differences were noted. In Soleto, in the chapel of Santo Stefano, one can observe the fresco of San Nicola dressed in Greek vestments, narrated with inscriptions in the Greek alphabet, however within a stylistic-pictorial code that was starting to change. Many workers, in fact, came from Tuscany or Lombardy.

The Renaissance representations in Puglia do not differ much from the previous ones of the Norman and Byzantine period. However, with the passing of the years and the arrival of the Baroque we find the monumental work of Carlo Rosa, who with his ceiling of the Basilica of San Nicola in Bari, illustrates multiple events of the life of the saint.

In the 18th century, Mattia Preti, Francesco Solimena and Corrado Giaquinto (below is a canvas by Giaquinto where the Saint helps fishermen at sea) continued to develop the theme of Saint Nicholas, contributing to an artistic tradition that evolved while remaining rooted in the faith and traditions of Puglia.