The Basilica of San Nicola di Bari, the triumph of art and faith

The Basilica of San Nicola represents one of the most significant examples of Apulian Romanesque. Its construction began between 1087, the year in which Ruggero Borsa donated the relics of San Nicola to Bishop Ursone of the court of Catepano (a Byzantine official), and 1197, during the period of Norman domination. The construction of the basilica is intrinsically linked to the relics of San Nicola, which were stolen by sixty-two sailors from Bari from the city of Myra, in Lycia, and arrived in Bari on May 9, 1087.

The construction process took place through at least three successive phases and was concluded in 1197, as attested by a parchment that mentions the basilica already “constructa”. A consecration stone from 1197, interpreted by some as the conclusion of the works, represents a devotional act by Emperor Henry VI, who, in honor of his father Frederick Barbarossa, left for the Crusade requesting the blessing of Saint Nicholas. In 1968, Pope Paul VI elevated the basilica to the dignity of a Pontifical Basilica, promulgating the apostolic constitution “Basilicae Nicolaitanae”.

From an architectural point of view, the facade of the basilica, simple but majestic, is divided into three parts by pilaster strips, crowned by small arches and opened by mullioned windows in the upper part and by three portals in the lower part. The central portal, which stands on columns and has a canopy, is richly sculpted. Two truncated bell towers, of different workmanship, flank the facade. The sides of the basilica are characterized by deep blind arches, above which run small loggias with six-light windows, and by ornate doors.

The high transept heads and the continuous apse wall are animated by blind arches at the bottom and double lancet windows at the top, with a large window in the center of the apse. Inside, the basilica is structured according to a Latin cross plan, with a longitudinal development that is illusory. It is divided into three naves by twelve columns of spoil, with six columns on each side, the first four of which are paired. The central nave, covered by trusses, is marked by three transverse arches, added in the 15th century following an earthquake that had made the structure unsafe. The first two arches are set on the first four pairs of paired columns, while the last is supported by two massive composite pillars, located almost halfway along the nave.

Above the arches is the women's gallery, with three-light windows. The ceiling is carved and gilded, enriched with painted panels from the 17th century. Three solemn arches on graceful columns divide the central nave from the presbytery, where the high altar is surmounted by a ciborium from the 12th century. One of the masterpieces of Apulian Romanesque, the episcopal chair, is located behind the ciborium, in the center of the presbytery, and features elaborate ornamentation, partly executed in niello. The seat is delicately pierced in the high armrests, supported by expressive figures in high relief and in the round, the telamons. On the back of the chair are two lionesses intent on tearing two men to pieces.