House | 3 bedrooms | sleeps 5
Bellisima villa 5 minutes walk from the clear blue sea of ??Campomarino. Two bright, fresh rooms, a large bathroom with shower are located on the first floor. Bedroom, bathroom with shower, living room, dining room with fireplace and kitchen are located on the ground floor. Garden and vegetable garden, outdoor hot shower and bucataio, barbecue and bicycles available. Parking, telephone and wireless network. Residential area of ??medium-high, quiet, close to Spa at the Grand Hotel dei Cavalieri, beach and free, with pine trees. At the center of Campomarino, which can be reached on foot from the house, you will find many restaurants, pizzerias, pubs, shops of various kinds. The beautiful port of Campomarino offers, in addition to the beautiful landscape, catering and entertainment. In the nearby village, Maruggio, former Commandery of the Knights of Malta and which is 1 km, you will find shops and services of all kinds with local food and wine. Nearby, also, there are farms that produce dairy products of high quality. The nearby Manduria enchants with its baroque churches, its monuments and wineries that produce wines of high quality. The location is central and easy to reach, in about an hour, hour and a half, Taranto, Itria Valley, Porto Cesareo and Gallipoli, Lecce.
|Size||Sleeps up to 5, 3 bedrooms|
|Nearest beach||Campomarino 1 km|
|Will consider||Long term lets (over 1 month), Short breaks (1-4 days)|
|Access||Car not necessary, Wheelchair users|
|Nearest Amenities||1 km|
|Nearest travel links||Nearest airport: Brindisi Papola-Casale 50 km, Nearest railway: Taranto 40 km|
|Family friendly||Great for children of all ages, Suitable for people with restricted mobility|
|Notes||Pets welcome, Yes, smoking allowed|
Features and Facilities
|General||Air conditioning, TV, CD player, Telephone, Satellite TV, Wi-Fi available|
|Standard||Kettle, Iron, Hair dryer|
|Utilities||Dishwasher, Cooker, Microwave, Fridge, Freezer, Washing machine|
|Rooms||3 bedrooms, 2 bathrooms of which 2 Shower rooms|
|Furniture||1 Sofa beds, Single beds (2), Double beds (3), Dining seats for 1, Lounge seats for 1|
|Other||Linen provided, Towels provided|
|Outdoors||Balcony or terrace, Private garden, Bicycles available|
|Access||Parking, Wheelchair users|
The Puglia/Molise region
Ever since ancient times, Puglia, thanks to this land's particular nature and geographical position, has been an essential link between continental Europe and the ancient civilizations that developed on the Eastern shores of the Mediterranean. Between the 11th and the 13th centuries, when this role was particularly significant, it produced great achievements that marked the history, culture and arts of the whole region but also of medieval Europe.
The land was under Byzantine rule as part of the vast Eastern Empire and already showed stratifications of past civilizations - Magna Graecia, Ancient Rome, Arab and Lombard. It was then conquered by the Normans and, during the first centuries of the second Millennium, was at the centre of the more important events, of subtle political strategies, thus witnessing the development of a dialogue with Byzantine territories and the Middle East as well as Western Europe's expansionist aims in those same territories, aims that were enthusiastically sustained by the Norman rulers in Southern Italy. In those years Puglia became the crossway of intense military campaigns for the Crusades and of an endless flow of pilgrims to and from the Holy Land, while two important shrines, Santuario dell'Arcangelo Michele on the Gargano and Santuario di San Nicola in Bari, became pilgrimage sites and outstanding features in the circuit of religious itineraries involving the Mediterranean and the whole of Europe. In line with all these occurrences, a thick network of international commercial maritime traffic developed in the harbours along Puglia's coastline.
This extraordinary situation caused an unprecedented enrichment of the cultural horizons, whose results are particularly noticeable in the figurative arts. The region already boasted a strong, lively tradition and it soon became the "laboratory" of an artistic style combining Eastern and Western suggestions, Romanesque stylistic elements with Byzantine and Arab inflections, which developed into a very original, incredibly modern, synthesis of languages whose importance is certainly of European level.
As of the second half of the 11th century, grandiose, rich shapes characterize Puglia's Romanesque churches, the more significant expression of that period's intense building activity. Strong Western and Eastern influences are quite evident, but there are also quite a number of original elements supporting the existence of a coherent regional culture. They show a wide variety in the choice of plans, volumes and construction techniques, associated to a refined taste for pure shapes, sumptuous, elegant materials and decorations, from the magnificent floor mosaics to a wealth of decorative sculptures.
The ancient basilica plan, such as the one chosen for the Cattedrale di Ottranto, is often blended with elements of Eastern origin, such as the striking cupolas at the centre of the nave, associated to semicircular vaults along the aisles; the result is a distribution of volumes to be found only in Puglia. The perfect example is the Cattedrale di San Corrado in Molfetta. Similarly, typically Romanesque elements, such as the internal loggias over the aisles and the strong cross vaults, are blended with highly original elements: a continuous eastern wall that connects the turn of the apses and shields them from view, the deep blind arcades along the sides and the bell towers of transalpine origin. The outstanding example of this typology is the Basilica di San Nicola di Bari, prototype of this area's other two celebrated monuments, the cathedrals of Bari and Bitonto.
The decoration of cornices, portals, windows and rose windows further distinguishes Puglia's Romanesque architecture. Classical and Byzantine patterns, arranged in striking compositions, appear transformed into geometrical shapes and Arabized, for instance in the portal and rose window of the Cattedrale di Troia. The region's sculpture develops also a particular repertoire of figures that tell us of exotic or imaginary animals always fighting against men who seem to succumb to a fantastic, terrible Nature. Particularly striking in these sculptures is the attention to detail, greater than elsewhere, and the mastery in conveying the vigour and movement of all these figures
Statements of authenticity and/or integrity
Despite unavoidable modifications caused by time, the proposed properties fulfil the criteria of authenticity as regards materials, building techniques and structure.
Each one of them is protected by national (Decree n.42/2004, "Codice per i beni culturali e per il paesaggio") regional and municipal laws and strict management regulations ensuring their conservation.
Comparison with other similar properties
Puglia's Romanesque style shows several of the elements that characterize this style in Europe, such as composite pilasters, loggias, blind arcades and portals sustained by marble lions, but it is distinguished by the proportions, the imposing vertical development, vaulted and not flat ceilings, semicircular cupolas of Byzantine origin and the wealth of decorations showing classical, Byzantine and Arab elements.
Furthermore, in Puglia, the hard plasticism, typical of the Northern Romanesque style, is softened to more ductile moulds and heralds the classical trend in sculpture that will develop under the rule of Frederick II.
The Salento peninsula in South-Eastern Puglia extends, between the Adriatic and the Ionian Seas, from the last hills of Murgia to the headland, Capo Santa Maria di Leuca, and its celebrated homonymous sanctuary, marking Finibus Terrae, which was probably built over the ruins of an ancient temple dedicated to Minerva. The Salento peninsula is prevalently calcareous, with a typically Karstic landscape, not rich in surface waters, featuring a profusion of underground craters, caves and grottoes.
In the course of the centuries, the landscape was moulded in turn by Greeks, Romans, Byzantines, Normans and Aragonese as this borderland acquired increasing strategic and commercial importance.
Each and every domination deeply affected the peninsula's landscape and the identity of these ancient builders can be traced both in the countryside and in all the towns. Dry walls, menhirs, dolmen, sighting promontories (the so-called specchie) and underground oil-mills are the most ancient evidence left by the Messapian people, an Illyrian-speaking population that settled in the Salento peninsula in the first millennium BC; after constant warfare with the Greek colony in Taranto, they were conquered by the Romans in 266 AD. The Messapians occupied a vast territory, known as Grecia Salentina, where traces of the ancient road network are still visible. This territory's extension was gradually reduced and now includes eight municipalities where there is a revival of the ancient local language, griko. Ancient cathedrals, stately homes, castles and watchtowers are marks of Norman (11th and 12th centuries) and Aragonese (13 and 15th centuries) occupation. These significantly altered the medieval social and political structures, but the peninsula's landscape is also the product of the peasants' daily toil as, for centuries, they unwearyingly laboured an impervious and rocky soil, dotting the countryside with caseddì, the distinctive tool sheds built with rocks cleared from the ground. The most typical feature of this agrarian culture are the tenant farms, born of the fragmentation of large landed estates, and equally distributed throughout the territory. Ever since the Middle Ages, the system based on tenant farms reflects the economical structure - ownership, cultivation and tenure of the land - that remained unchanged up to the 1950's. The architecture of these farms varies from modest country houses to properly fortified manors for the defence of inland regions. Around the second half of the 13th century, authority began to be displayed also in rural areas and some of these edifices were enriched with elaborate porticoes, balconies, belvederes, formal gardens stucco decorations and frescoes and became small gems of architecture.
However, the distinctive character of the Salento peninsula comes from a series of architectural achievements associated to an artistic phenomenon known as Barocco Leccese, which developed in Lecce, Salento's historical and artistic centre, and in Terra d'Otranto between the second half of the 16th century and the end of the 17th century. In those years, thanks to a particular combination of ideas and circumstances, the culture and urban structure of both town and province were totally re-modelled with works composing an unmistakable urban fabric of extraordinary architectural and artistic value. The local stone, a compact-grained marbled limestone "honey coloured, that can be carved with a penknife" (Cesare Brandi), used as building material greatly enhanced the creativity of local artists. The stone is soft and easy to cut, and it used to be hardened and made resistant to rain and humidity with a very particular process: it was soaked in fluid containing whole milk and this reduced its porosity making the surface hard and compact.
The 'Barocco leccese' developed in the framework of the Counter-Reformation and the foundation of reformed religious orders (Theatine and Jesuits) create in response to the Church's need to re-assert its authority, mainly through an ostentatious display of power. Its distinctive, autonomous, style can be found in the particular, imaginative and suggestive combination of architectural elements on the façade: porticoes, windows, balconies, loggias, gargoyles, corbels, festoons, columns and cornices crowded with human figures, flowers and animals. The expressiveness of these decorations overflows into the strictly religious areas and can be found also on altars, ciboria and calvaries. The reference to the earth, its products and God's mercy is quite clear when flowers, festoons and sprays of vine are mixed with elements symbolizing spiritual and Christian values .
From the 1500s to the 1710s this new language marked the urban renewal that followed Lecce's re-acquired importance after the succession of plagues, mass slaughters and ravages of the last decades of the 15th century, during Aragonese rule. The city had become an important commercial centre of the Kingdom of Naples attracting Venetian, Dalmatian, Greek and Lombard merchants and its prestige was further enhanced when it became the seat of the State's regional administrative offices and Law Courts. peripheral renewed beginning of the 18th century
Charles V appointed Lecce Puglia's regional capital city and ordered its renewal with several public works; also the nobility participated in the construction of a large number of buildings which show the influence of this style that maintains a close relationship with classical principles but also embraces the rural characteristics of the peninsula's culture.
A good example is the Basilica of the Holy Cross among the more interesting and elaborate religious edifices, featuring an extraordinary profusion of decorative elements, namely the corbels supporting the balcony (a typical element of Lecce's architecture) and the caryatids of the façade. Noteworthy, next to the Basilica, is Palazzo della Prefettura, but also Palazzo del Seminario, the churches of Santa Chiara, SS. Nicolò and Cataldo (restructured) and del Rosario. A real Baroque gem is also piazza del Duomo which shows a particularly attractive synthesis of this style's main features.
Baroque art and its decorative criteria were soon followed in the whole of the Salento peninsula, even in the smaller cities where the main monuments are no less significant than those in Lecce. Today, every alley, every street, every square not only in Lecce but also in Nardò, Gallipoli, Martina Franca, Ostuni, Francavilla Fontana, Galatina, Galàtone and many others, testifies to the wide range of expressive feats achieved by the 'Barocco leccese'.
Nardò, at the heart of the Salento peninsula, was an important centre in Roman times and increased its cultural, political and economic relevance during the Middle Ages and the Renaissance; in the 18th century, the works of the celebrated Neapolitan architect, Ferdinando Sanfelice, gave it its distinctly Baroque characteristics. This brilliant artist personally designed the church della Purità (1724) and the Cathedral's new façade (1725) and gave impulse to the innovations, already in full swing, focussing on a re-definition of architectural volumes and of the urban structure; the outcome can be admired in the scenic street wings, in the variety of road tracings (a good example is the one connecting the churches Santa Teresa, Santa Croce, San Francesco di Paola, Santa Chiara and San Giuseppe) and in several picturesque villas in the suburban area.
Gallipoli is another interesting "laboratory" where, during the 17th and 18th centuries, the peculiarities of the 'Barocco leccese' were applied to several important monuments (namely, the Cathedral and the churches della Purità, delle Anime, del Crocifisso, di San Francesco di Paola), within the framework of an urban structure endowed with a particularly picturesque landscape: the town is built on a headland extending into the Ionian Sea, connected to the mainland by a narrow isthmus.
Galàtone's city centre features several Baroque monuments; particularly noteworthy is the Santuario del Crocifisso della Pietà (1696), with its three-storied façade overflowing with friezes, niches, statues and the unique large window barred by a gate of pierced stone.
Martina Franca is situated on the border between the Salento peninsula and the province of Bari, an area known as Valle d'Itria, important in itself for other, significant, environmental and cultural aspects (namely the civilization that developed particular stone dwellings known as trullo). Martina Franca shows the final evolution of the Baroque style; here Baroque merges with Rococo conferring uniform elegance and lightness to the whole city. religious and civilian buildings, squares and streets. Ostuni features several significant churches; the more important Baroque ones are S. Maria Maddalena and San Vito Martire. The latter was built between 1750 and 1754 and its façade shows interesting cornices, niches, friezes and coats of arms. Noteworthy is also Palazzo Ducale