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Diocesan Museum

Archbishop’s Palace

via Dottula - 6010 - 70122
Monday and Thursday from 10.00 to 13.00, Saturday from 10.00 to 13.00 Saturday from 17.00 to 20.00 Sunday from 10.00 to 14.00
museobari@odegitria.bari.it
 080 5210064

Description

Beginning of construction XI century
Current use Museum
The Palazzo Arcivescovile or Episcopio (Archbishop’s or Episcopy Palace) is the Archbishop’s residence and has been a Seminary since 1610. It is at the corner of Ronchi Street and San Triggiano Court. The features of today’s building – rectangular layout on three levels with two wings extending towards the catherdral – are the result of important structural and architectural work carried out between the 17th and 20th centuries. Its monumental Baroque façade overlooks a courtyard which is flanked on three sides by the building itself, the southerly façade of the cathedral and by other minor buildings, respectively. At the centre of the courtyard is the so-called “spire”, a monolithic granite column set on a high plinth and embellished from above by a life size statue of San Sabino, the first protector of the city. The façade was restored in Baroque style by the architect Domenico Antonio Vaccaro at the behest of Archbishop Muzio Gaeta Iuniore (1736 - 1754). A study of the elegant frontage reveals the clear difference between the first floor and the two floors above: restoration work during the 1960s saw the removal of 18th century stuccoes from the first floor. As a result, it is now possible to see the original Medieval structure, characterised by large, blank arches in Romanesque style and still covered on its side section. However, this is balanced out by a first floor terrace with a balustrade, punctuated by seven busts in white Carrara marble (from the original fourteen). This aspect enhances the monumental appearance of the entire building. On the upper floors, the 18th century stuccoes enrich the window frames. On the second floor, these are highly decorative, with winding features and large adornments; the third floor stuccoes are more sober and linear but reveal two delicate lateral spirals.
The first floor of the building is home to the Diocesan Museum, the most spectacular in the old town, founded in 1981. Its itinerary is divided into five rooms and offers the visitor an authentic journey of discovery through the development of the cathedral and the local ecclesiastical community. Of particular interest is the Exultet exhibit, remarkable miniature scrolls in parchment, used to celebrate the night of Easter, according to Byzantine liturgy.

History

Beginning of construction XI century
There is no precise information on the origins of the Medieval era Palazzo Arcivescovile and neither are there any existing documents which refer to an Archbishop’s residence near the cathedral. A 1770 plan was the first to outline a complex of buildings which incorporated the south side of the cathedral, highlighting its position within the urban context.
However, already by the beginning of the 17th century, existing buildings were being re-examined to frame the courtyard of Palazzo Arcivescovile (as today, the south entrance of the cathedral overlooked this courtyard). At that time, Archbishop Decio Caracciolo decided to dedicate one wing of the building to a seminary. Between 1638 and 1665, Archbishop Diego Sersale had the so-called “spire” and its statue of San Sabino erected in the centre of the courtyard as well as commissioning general restoration tasks, which continued with further work in 1684 under Archbishop Ruffo.
An actual modernisation programme was carried out by the architect Domenico Antonio Vaccaro. In 1737, at the request of Archbishop Muzio Gaeta Iuniore, an intrusive restoration aimed to lend the entire complex a uniform appearance, so as to make it recognisable as the seat of the bishop’s activity. He remodelled the monumental façade of the bishop’s seminary, a magnificent backdrop to the episcopal courtyard, respecting the ancient structure but covering it by implementing stuccoes in Baroque style, thus adapting it to the vogue of the time.
Further renovation of the old building was ordered by Archbishop Clary (1823-1858) and again in 1935, when it was decided to reclaim the previous Medieval appearance of the cathedral. One of the consequences of this was the demolition of the Santissimo chapel, a linking point between the cathedral and the Archbishop’s Palace.
Bombing during the Second World War caused so much damage that in 1954 it was necessary to initiate a series of restoration projects, the focus of which included much of the two wings of the building as well as the façade overlooking the episcopal courtyard.

Popular culture

The area around the cathedral in which Palazzo Arcivescovile is situated is particularly important in defining the city’s Mediterranean history, its religious tolerance and its current role in the non-denominational community.
Bari received its first colony of foreigners in about 70 AD, when Emperor Titus conquered Jerusalem and the first wave of Jewish immigrants towards Europe began. Bari’s Jewish quarter was situated around the Episcopy, where a 10th century synagogue was since discovered. Its remains are visible in Piazza F. Corridoni, the same location as the entrance to the bishop’s palace. According to 9th century sources (midrash), the locals, struck by the rags worn by Jews arriving in Bari in chains, rushed to cover them with their cloaks and feed them. This gave rise to the popular saying regarding the local inhabitants that “he who enters Bari does not leave without first wanting to sin” (Lavermicocca-Cioffari). It also acts as a prologue to the reception given the Albanians during their mass flight to Bari in the 1990s. There also theories on the presence of a second synagogue.
In the same area as the Episcopy, important evidence of an Arab presence in Bari may well have existed. From 847 to 871, the city was host to a flourishing emirate, subordinate to the caliphate of Baghdad.: it is believed that two or more mosques were built for Friday prayer. At that time, three emirs succeeded each other as governors of the city, Khalfun, Mufarrag and Sawdan. No evidence remains of this period, as all of the eras’s buildings were destroyed in 871 following the capture of Sawdan by Louis II. However, an indication of Arab presence can be found in the Kufic inscription of “Allah” in the presbytery of San Nicola basilica and in the mosaics around Elia’s pulpit. A final reminder of the emirs’ time in Bari is that of the popular tale of the cape du Turke (head of the Turk). This is a sculpture, attached to the wall of a house in Quercia Street, which represents the cut-off head of the emir Mufarrag.


How do I get there?

How do I reach downtown?
airport Airport  

From the international airport Karol Wojtyla in Bari,
Take Viale Enzo Ferrari in the direction of Strada Provinciale 204 / Viale Gabriele d'Annunzio / SP204.
Take Viale Europa and Via Napoli in the direction of Via S. Francesco D'Assisi in Bari.
Take the SS 16.
Exit the SS 16 via Exit 4 towards “Bari Centro-Porto”.
Continue down Via Napoli and then Via San Francesco d'Assisi.
Drive in the direction of Piazza Federico II di Svevia.

motorway Toll road  

Take E843, Viale Giuseppe Tatarella and the underpass Sottopassaggio Giuseppe Filippo in the direction of Via Napoli in Bari.
Continue along Via Napoli and drive in the direction of Piazza Federico II di Svevia.

other Public Transport  

AMTAB bus lines #3, #12, #12/, #21, and #35 stop near the castle.

park Parking lots  

Piazza Massari-Piazza Federico II di Svevia-Piazza Prefettura