The Sassi of Matera Walking Tour

Madonna della Croce, a cave church located at the rim of the Gravina gorge near Matera, is renowned for its well-preserved mid-13th century frescoes[1]. This church is one of the many rupestrian churches in the area, reflecting the significant monastic influence in Matera between the 8th and 13th centuries[2]. The frescoes depict the Madonna seated on a throne with the Child, surrounded by archangels, showcasing Byzantine artistic styles[1].

The church's remote location makes it challenging to access, requiring a hike from the Jazzo Gattini visitor center[2]. Despite these challenges, Madonna della Croce remains a notable example of Matera's rich cultural heritage. Its preservation is a testament to the enduring impact of early monastic communities on the region's architecture and art[1].

The church is currently closed, but its historical significance and artistic value continue to attract interest[1]. The frescoes and architectural design of Madonna della Croce highlight the blend of Greek-Byzantine and Latin influences in Matera's religious art[2][1].

Chiesa di San Falcione, located in Matera, is a remarkable example of a rock church, carved into the limestone of the Murgia region. This ancient site is adorned with Byzantine frescoes, which have been a subject of interest for historians and art enthusiasts alike. The frescoes depict scenes from the Bible, including the Presentation of Jesus at the Temple, and images of saints such as Saint Nicholas[1][2].

The church's architecture is notable for its central nave and two side aisles, with an altar carved into the rock within an apse. The frescoes, though in poor condition, provide valuable insights into the artistic and cultural influences of the Byzantine period in Matera[1][2].

The discovery and preservation of these frescoes have been crucial in understanding the historical context of the region. Despite being temporarily closed for restoration, Chiesa di San Falcione remains a significant cultural landmark, attracting both tourists and historians[2].

Matera's rock-cut churches, located in the region of Basilicata, Italy, are a testament to the ingenuity and spiritual dedication of early Christian communities. These structures, carved into the limestone cliffs, date back to the early Middle Ages and reflect the influence of various cultures, including Byzantine and Lombard[1].

One of the most notable examples is the Church of Santa Maria de Idris, which offers a panoramic view of the city and features ancient frescoes[2]. The church's construction and preservation highlight the resourcefulness of the people who built these structures, often using the soft tuff stone to create habitable spaces within the rocky landscape[1].

In the 1950s, Matera faced significant challenges due to poor living conditions, leading to the relocation of many residents. However, from the 1980s onwards, efforts to restore and preserve these ancient sites began, culminating in their recognition as a UNESCO World Heritage site in 1993[2]. This transformation not only preserved historical architecture but also revitalized the local community by attracting tourism and fostering cultural appreciation[2].

The restoration process involved addressing structural challenges and preserving the historical integrity of the sites. This was achieved through careful planning and execution, ensuring that the original character of the rock-cut churches was maintained while making them accessible to visitors[2].

The Church of Madonna delle Virtù, carved into limestone in Matera, Italy, has a rich history dating back to around 1000 AD[1]. In the 12th century, it became a refuge for penitent nuns from Acre or Accon, brought to Matera by Archbishop Andrea to revitalize local faith[2]. However, by the mid-20th century, the church had fallen into disuse and was even used as an illegal landfill.

In 1967, a pivotal moment occurred when the Circolo La Scaletta undertook a comprehensive restoration of the church. This effort not only restored the original floor plan but also reconstructed the entrance in the central nave, reviving the church's original grandeur[3]. The restoration highlighted the church's unique architectural features, such as its three-nave basilica plan and the intricate vaults adorned with Greek crosses[3][1].

Despite challenges like road construction in 1934, which halved the left nave and eliminated access to the crypt of Saint Nicholas of the Greeks, the church remains a testament to Matera's historical and cultural heritage[1][2]. Today, it serves as a prestigious exhibition space for contemporary art, showcasing the community's ability to adapt and preserve historical sites for new purposes[2].

The Museum-workshop of the Peasant Culture in Matera's Sassi district is a testament to the region's rich agricultural and artisanal heritage. Founded by Donato Cascione, the museum is managed by a cultural association dedicated to preserving the history of the local peasant community[1]. The museum's structure is unique, incorporating ancient caves and residences to recreate the living conditions and workplaces of past artisans, such as potters, basket-makers, and blacksmiths[1].

One of the pivotal moments in the museum's history was the decision to gather and display artifacts from daily life in the Sassi district. This involved years of collecting tools and objects from various jobs that were central to the economic and social life of the area[2]. The museum's design choices reflect a commitment to authenticity, with environments designed to closely resemble real-life settings, such as a "lamione" and a public wine cellar[3].

The museum's activities extend beyond exhibitions, with workshops and publications aimed at engaging young people and documenting local ethnographic research. For example, the association has published "Tales from the Museum," now in its third edition, which collects testimonies and documents related to the region's history. These efforts highlight the museum's role in preserving cultural heritage and educating future generations about the significance of peasant culture in Matera.

Casa di Ortega, located in the historic Sassi di Matera, is a museum-house that showcases the artistic legacy of José Ortega, a renowned Spanish artist. In the 1970s, Ortega spent time in Matera, where he created twenty polychrome bas-reliefs using papier-mâché, a popular local handicraft technique[1][2]. These works are now displayed at Casa di Ortega, highlighting Ortega's contribution to the local art scene.

The project was initiated by the Fondazione Zètema with the dual intent of documenting Ortega's presence in Matera and promoting the rediscovery of local craft traditions[1]. This effort not only preserved Ortega's art but also helped revive interest in traditional Materan crafts, such as ceramics, as evidenced by the works of local artisans like Giuseppe Mitarotonda[2].

The physical space of Casa di Ortega itself serves as a testament to the cultural exchange and artistic innovation that occurred during Ortega's stay. The house features ceramics and other local handicrafts, making it a unique cultural hub in the region[2]. Through its exhibitions and preservation of Ortega's work, Casa di Ortega continues to engage the community and inspire new generations of artists and artisans.

Matera Cathedral, located in the heart of the Sassi di Matera, is a prominent Roman Catholic cathedral built in the Apulian Romanesque style. Its construction began in 1203, following Pope Innocent III's elevation of Matera to an archdiocese in union with Acerenza[1][2]. The cathedral was completed in 1270 and stands on the site of the ancient Church of Saint Eustace, which dated back to the 11th century[2].

The cathedral's design reflects the spiritual and social dynamics of the time. Its façade features a rose window with sixteen rays, surrounded by symbolic figures that may represent different social classes or the Wheel of Fortune[1]. Inside, the cathedral houses significant artworks, including an Italo-Byzantine fresco of the Madonna della Bruna and Child, and carved wooden choir stalls from the 15th century[2].

Over the centuries, the cathedral underwent significant transformations, particularly in the 17th and 18th centuries, when Baroque decorations were added, and the nave was lengthened to accommodate a new choir area[1][2]. These changes reflect the evolving cultural and religious practices of the community.

Today, Matera Cathedral remains a central point for religious and community life, hosting numerous celebrations and events throughout the year.

The Sassi di Matera, a troglodyte settlement dating back to the Palaeolithic era, faced significant challenges in the mid-20th century. By the 1950s, the area was plagued by poverty and malaria, leading the Italian government to forcibly relocate most of its inhabitants to modern housing[2]. However, this drastic measure did not eradicate the Sassi's cultural significance. In the late 1980s, a concerted effort began to revitalize the area, driven by local administration, the European Union, and UNESCO[2].

Casa Noha, located in the heart of the Sassi, plays a crucial role in this revitalization by serving as a museum for local history. Operated by FAI Fondo Ambiente Italiano, it offers insights into the lives of past inhabitants and the cultural heritage of Matera[1][2]. The transformation of the Sassi from a neglected area to a thriving tourist destination reflects the community's resilience and dedication to preserving its unique history.

Today, visitors can explore the ancient cave dwellings, churches, and monasteries, experiencing firsthand the blend of natural and cultural landscapes that define the Sassi di Matera[1][3]. This transformation not only highlights the area's architectural uniqueness but also underscores the power of community-driven conservation efforts.

San Pietro Caveoso, located in the Sassi of Matera, is a significant religious landmark that has undergone substantial restoration efforts. The church, originally constructed in 1218 and modified over the centuries, faced structural challenges due to its location on the Monterrone cliff[3][1]. A major project aimed at consolidating the soil and anchoring the building's macro-elements to the foundation rock was undertaken to ensure the church's stability[1].

The restoration also involved addressing the detachment of the church from the cliff, which was necessary for the construction of an oratory and a driveway behind the Malve-Casalnuovo districts[3]. This project not only preserved the church's integrity but also highlighted the importance of maintaining historical structures in Matera.

Inside the church, notable features include an 18th-century altar with a wooden polyptych from 1540, depicting the Madonna and Child between Saints Peter and Paul[1]. The church originally had eight chapels, but four were demolished to make way for the oratory, leaving behind traces of the past and artifacts like a 13th-century baptismal font[1][3].

The restoration efforts at San Pietro Caveoso reflect the community's commitment to preserving its cultural and religious heritage, ensuring that this historical site remains a vibrant part of Matera's identity.

The Chiesa di Santa Maria di Idris, located in Matera's Sassi district, underwent significant restoration in the 19th century. During this period, a new altar was added by the Spuma family in 1804, marking a pivotal moment in the church's history[1]. This restoration transformed the church, which had become known as Madonna de Idris or Our Lady of Water, reflecting its role in local religious practices[1]. The church's unique architecture, carved directly into the rock face, has been preserved to showcase its original stone carvings and frescoes[2].

The restoration also involved the purchase of a statue of the Virgin, accompanied by terracotta water pitchers, symbolizing the church's association with water blessings[1]. Local women would crawl along a row of ceramic bricks on the floor to pray and seek blessings, highlighting the church's importance in community life[1]. Additionally, numerous frescoes were detached from the church in the 1960s for preservation and are now exhibited at the Museum of Palazzo Lanfranchi[1]. These actions demonstrate the community's efforts to preserve the church's cultural and historical significance.

The church's connection to the rock crypt of San Giovanni in Monterrone via a tunnel adds to its historical and architectural intrigue, featuring precious frescoes from the 12th to the 17th century[2]. This unique infrastructure underscores the church's role as a significant cultural and religious site in Matera.

Casa Grotta del Casalnuovo, located in the heart of Sasso Caveoso, Matera, is part of a broader narrative of transformation and resilience in the Sassi di Matera. Historically, the Sassi were home to a dense population living in cave dwellings, often under harsh conditions. In the mid-20th century, the Italian government deemed these conditions unacceptable, leading to the forced relocation of approximately 17,000 residents in 1952[1][2].

The relocation was part of a broader effort to modernize and improve living conditions in Matera. However, it left the Sassi largely abandoned and in disrepair. The turning point came in 1993 when the Sassi were declared a UNESCO World Heritage site, sparking a renewed interest in preserving and revitalizing the area[1].

Today, Casa Grotta del Casalnuovo serves as a museum, offering insights into the lives of past inhabitants and the unique architecture of the Sassi. The transformation of the Sassi from a symbol of poverty to a celebrated cultural landscape reflects the power of community and institutional efforts to reclaim and preserve historical sites[2].

The story of the Sassi's revival is closely tied to the broader cultural and historical context of Matera. It highlights the impact of government policies and international recognition on local communities and their built environment. The preservation of these ancient dwellings not only honors the past but also provides a unique cultural and historical resource for future generations[1][2].

Palazzo Lanfranchi, a 17th-century building in Matera, Italy, has reopened after a major restoration project. This historic site, once a seminary founded by Bishop Vincenzo Lanfranchi, now serves as the National Museum of Medieval and Modern Art of Basilicata[1][2]. The restoration has not only preserved the original architectural details but also enhanced the visitor experience with modern technologies and new exhibition spaces[1].

One of the highlights of the reopening is the introduction of new rooms dedicated to the works of Carlo Levi and Luigi Guerricchio. Carlo Levi, known for his attachment to Basilicata, is featured with his monumental work *Lucania ’61*, which celebrates the region's beauty and cultural significance[1]. Luigi Guerricchio, a prominent Matera artist, is showcased for his vibrant and passionate paintings that reflect his deep connection with the Lucanian territory[1].

The museum also features a collection of Neapolitan paintings from the 17th and 18th centuries, curated by Professor Stefano Causa. This collection, gathered by Camillo d’Errico, is one of the most important in southern Italy and offers insights into the artistic influences of the Neapolitan school[1]. The reopening of Palazzo Lanfranchi marks a significant cultural revitalization for Matera, combining tradition with innovation to attract visitors worldwide[1].

The Museo Archeologico Nazionale Domenico Ridola in Matera, Basilicata, is renowned for its extensive collection of archaeological artifacts, showcasing the rich history of the region. One of the most significant aspects of the museum is its role in preserving and displaying artifacts from the Paleolithic era, providing insights into the lives of early inhabitants of Matera.

Domenico Ridola, after whom the museum is named, was instrumental in the discovery and preservation of many of these artifacts. His work laid the foundation for the museum's collection, which includes important finds from the Sassi di Matera, a UNESCO World Heritage Site known for its ancient cave dwellings[1].

The museum's establishment was a pivotal moment in Matera's cultural history, as it centralized the region's archaeological heritage under one roof. This not only facilitated research but also made these historical treasures accessible to the public, enhancing the community's connection to its past.

In terms of design, the museum's architecture reflects its historical context, blending seamlessly into the surrounding landscape of Matera. The careful preservation and display of artifacts highlight the challenges faced by curators in balancing historical authenticity with modern exhibition techniques.

The museum continues to be a hub for archaeological research and education, attracting scholars and visitors alike. Its collections serve as a tangible link to Matera's ancient past, offering a unique perspective on the lives of its early inhabitants.

Piazza San Francesco in Matera is home to the Chiesa di San Francesco d'Assisi, a church constructed in the early 13th century. This historical site showcases a remarkable blend of Romanesque and Gothic architectural styles, featuring intricate frescoes and a striking façade[1]. The church stands as a testament to Matera's rich religious history and cultural heritage.

Beneath the Chiesa di San Francesco d'Assisi lies an ancient underground church dedicated to Saints Peter and Paul. This hidden church can be accessed through a trap door from a chapel inside, offering a glimpse into Matera's early Christian past[2].

The square itself has been a central gathering place for local events and traditions. It is surrounded by historic buildings and offers a serene atmosphere, inviting reflection and community interaction. The church's location in the heart of Matera makes it easily accessible for tourists and locals alike, integrating seamlessly into the city's exploration[1].

The broader context of Matera's history, including the relocation of inhabitants from the Sassi to modern housing, has influenced the social and economic dynamics around Piazza San Francesco. This shift marked a significant change in the community's structure and interaction, as the city transitioned from ancient dwellings to more modern living conditions[3].

Castello Tramontano, situated on Lapellio Hill above Matera, was a 16th-century fortification constructed by Count Giancarlo Tramontano. The castle's construction began in the early 1500s, with the aim of asserting feudal control over the local population rather than defending the city[1][2]. The project was costly, amounting to over 25,000 ducats, and was financed through heavy taxation of the Materani people, who were already burdened by low wages[2].

The economic strain and perceived abuse of power by the Count led to significant unrest among the locals. On December 29, 1514, a group of dissatisfied citizens orchestrated a violent uprising, culminating in the assassination of Count Tramontano as he left the Cathedral[1][2]. This event not only halted the construction of the castle but also marked a turning point in the city's history, as it reflected the deep-seated tensions between the ruling class and the populace.

The castle, though never completed, remains a testament to the tumultuous history of Matera. Its unfinished state serves as a physical reminder of the dramatic events that unfolded, with the "la pietra del mal consiglio" (stone of bad advice) symbolizing the site where the conspirators planned their coup[1]. Today, restoration efforts aim to preserve this historical site, highlighting its significance in the region's narrative[1][2].

Piazza Vittorio Veneto, located in the heart of Matera, Italy, is a vibrant square that serves as a gateway to the ancient Sassi di Matera. One of the most intriguing historical sites in Matera is the large cistern situated beneath this piazza. The cistern was abandoned for decades after a new aqueduct was constructed in the 1920s[1]. It wasn't until 1991 that a construction worker accidentally rediscovered the cistern, revealing a piece of Matera's hidden infrastructure[1].

This rediscovery provided visitors with a unique glimpse into Matera's ancient water management systems. The cistern, now open for guided tours, offers insight into the engineering skills of early inhabitants who built extensive networks of water channels and cisterns to sustain life in this arid region[2]. The presence of such infrastructure highlights the resourcefulness and ingenuity of Matera's historical residents.

The rediscovery of the cistern also underscores the broader transformation of Matera. From being labeled as the "Shame of Italy" due to poor living conditions in the Sassi, Matera has evolved into a thriving cultural hub, with Piazza Vittorio Veneto at its center[1]. Today, visitors can explore not only the cistern but also the surrounding Sassi, which have been revitalized with luxury hotels, cafes, and boutiques[1].

San Pietro Barisano, the largest rock church in Matera, was abandoned in 1903 due to excessive humidity. This decision led to the relocation of the parish to the nearby church of Sant’Agostino, along with most of its sacred furnishings, including the baptismal font[1][2]. The church's abandonment marked a significant shift in its role within the community, transitioning from a place of worship to a cultural venue.

The church's history is intertwined with its architectural evolution. Initially known as San Pietro de Veteribus, it became an abbey in 1467 under Abbot Matteo Ciminelli, who secured patronage rights from Pope Paul II[2]. Over the centuries, the church underwent renovations, including a major transformation in the 18th century that gave it its current form[1].

Today, San Pietro Barisano serves as a large exhibition space, hosting various cultural events. Despite its new role, remnants of its past remain, such as the 16th-century frescoes and the underground rooms used for funeral practices[1][2]. The church's transformation reflects the adaptability and resilience of the community in Matera.

The Convento di Sant'Agostino in Matera, Basilicata, was severely damaged by a devastating earthquake in 1734. This event marked a pivotal moment in the history of the convent, which was originally built by the Augustinian monks in 1592 on an ancient hypogeum dedicated to Saint William of Vercelli[1][2]. The earthquake destroyed much of the complex, but it was restored and became the seat of the General Chapter of the Augustinian Order by 1747[1][2].

The restoration efforts were significant, as they not only rebuilt the physical structure but also revitalized the community's religious and cultural center. The church was consecrated in 1750 by Archbishop Antonio Antinori, symbolizing the community's resilience and dedication to their faith[1]. Today, the convent houses the Superintendence for Architectural and Environmental Heritage, reflecting its enduring importance in Matera's cultural landscape[1][2].

The physical evidence of this restoration can be seen in the church's late Baroque architecture and its beautifully crafted altars, which were created by local and Neapolitan artisans between 1748 and 1749[3]. The high altar, made of inlaid polychrome marble, features a 16th-century wooden crucifix, highlighting the blend of historical and artistic elements within the church[2][3].