The Crypt of the Crucifix of Ugento

Located five meters deep, the Crypt of the Crucifix of Ugento dates back to around 1100 AD. It is a fascinating place dug into the tuff rock and full of frescoes dating between the 13th and 17th centuries, with depictions of animals, characters, zoomorphic figures, and symbols such as stars and crosses.

On one wall, you can see a very rare animal in pictorial representations, namely the Manticore, a mythical creature with a human head, a leonine body and a scorpion’s tail. Capable of throwing poisonous thorns. Its name derives from the Latin “mantichōra”, which in turn comes from the Greek “μαντιχώρας” (mantikhṓras), meaning “man-eater”. The oldest description of the manticore is by Ctesias of Cnidus, who places it in India, describing it as a beast as big as a lion, with human features and a deadly tail. According to the myth, manticore cubs can be domesticated by men.

The first pictorial cycle, dating back to the 13th century, presents an Annunciation with the Archangel Michael and a female figure, probably the patron.

The main fresco, the Crucifixion, shows Christ between the two thieves, with the Madonna and St. John the Evangelist at his sides. Symbols of the Sun and the Moon also appear here, which refer to ancient meanings and to the Gospel passage of Good Friday, alluding to the eclipse that followed the death of Christ.

Next to the fresco of the crucifix is ​​Saint Nicholas, bishop and patron saint of Bari, depicted with a closed book, symbol of his authority. Another interesting iconography in the crypt is a red cross with three dots at the ends, which some scholars connect to the passage of the Knights Templar in Ugento, although the presence of this symbol does not necessarily imply their presence.

Continuing the visit, we notice a Christ Pantocrator, blessing with his right hand, a very widespread Byzantine icon. You can also admire frescoes of the Madonna of Tenderness and the Madonna enthroned with Baby Jesus, the latter with a circle-shaped earring, symbol of light and the “Morning Star”.

Next to these images, there is an almost illegible figure, probably of St. John the Baptist. The representations continue with zoomorphic figures such as the basilisk and the manticore, symbols of power and evil.

Near the exit stairs, we find a drawing of geometric shapes which, although considered by some to be a calendar, could be part of a larger frescoed scene.

Finally, we raise our gaze to the ceiling, adorned with stars and shields with red and black crosses, which suggest a crusader and Templar presence. These hypotheses, still under study, contribute to preserving the historical memory of the Ugento crypt.