The Cathedral of Bitonto, built during the second half of the XIIth cent., is one of the most beuutiful
Romanesque constructions in Puglia. The main façade comprises all the characteristic features common
to Medieval churches. Divided into three sections by pillars 
it has three finely deconated doorways; the central
one is flanked by two lions holding up columns with sculpted capitals and griffins above, which, in turn,
support the arch span decorated with thorny acanthus leaves. In the lunette are depicted "The Triumph of
Christ over Death' and "The Liberation of the Prophets". Above the arched vault finishing off the decorations,
is the figure of an eagle or, as some would have it, a pelican with its wings outspread. A floor-dividing ledge
divides the lower section of the façade from the upper one which contains two lovely double bay windows
in line with the doorway. Higher up sits a very fine rose window with sixteen spokes bearing the figure of
a horse griffin at the top of its arch vault. The upper setion of the façade is surrounded by hanging arches
running along the entire cornice. Some incomplete elements such as the pilastes and the arch form over
the central doorway would suggest that an earlier design may have existed, that was never fully translated
into realiry. Also of interest are the other fuçades and in particular the one on the South side that features
six large round arches and an elegant little loggia with slim columns and capitals that are all different from one
another. Above the pillans standing between the arches there are sculptures of te four Evangelists and of
the Virgin Mary. The interior is austere and sober; there are not many iconographical decorative works but some
"pieces" of sculpture are of very fine craftsmanship: the groundplan is of the Latin cross form (positioned
along an East to West axis) and is divided into three naves with pillars with columns resting against them,
surmounted by exquisite capitals with mythological and floral motifs, from which span the rounded arches
phore above. The side walls are pierced with four single bay windows on each
side through which light filters into the interior. The transept is entered through a triumphal arch; it is raised
up on three steps and encloses the central apse where the main altar stands. The baptism font is probably
atributable to the School of Nicolaus and comprises a single block of stones decorated with twining vines
and palms, and resting on a lily patterned base is the pergamo, 
finely carved and created in the XVIIth
cent with material taken from the ciborium and from the pulpit. The pulpit itself is a marvellous work
by Nicolaus Magister, as may be read on the back of the lectern, was reshaped in the XVIIIth cent; the
front is divided into squares with small rose motıfs in the centre and is supported by XVIIth cent. columns.
Uts highly effective sculptural decoration may be admired in such details as the eagle that supports the reading
lectern and the relief of the balustrade of the staircase. To the sides of the main doorway stand the mausolei
of Mons Cornelio Musso (1554-1570), one of the fathers of the Council of Trent amd of Bishop Giovanni
Barba (1737-1749) The crypt is the same size as the transept and s divided into four naves by columns
taken from earlier constructions, with beautifiul capitals. Also of interest is the mausoleum of Giovamìnni
Maria De Ferrariis, a werk crafted by the Neapolitan sculptor Gerolamo D'Auria to a commission of 1580.
it has three finely deconated doorways; the central
one is flanked by two lions holding up columns with sculpted capitals and griffins above, which, in turn,
support the arch span decorated with thorny acanthus leaves. In the lunette are depicted "The Triumph of
Christ over Death' and "The Liberation of the Prophets". Above the arched vault finishing off the decorations,
is the figure of an eagle or, as some would have it, a pelican with its wings outspread. A floor-dividing ledge
divides the lower section of the façade from the upper one which contains two lovely double bay windows
in line with the doorway. Higher up sits a very fine rose window with sixteen spokes bearing the figure of
a horse griffin at the top of its arch vault. The upper setion of the façade is surrounded by hanging arches
running along the entire cornice. Some incomplete elements such as the pilastes and the arch form over
the central doorway would suggest that an earlier design may have existed, that was never fully translated
into realiry. Also of interest are the other fuçades and in particular the one on the South side that features
six large round arches and an elegant little loggia with slim columns and capitals that are all different from one
another. Above the pillans standing between the arches there are sculptures of te four Evangelists and of
the Virgin Mary. The interior is austere and sober; there are not many iconographical decorative works but some
"pieces" of sculpture are of very fine craftsmanship: the groundplan is of the Latin cross form (positioned
along an East to West axis) and is divided into three naves with pillars with columns resting against them,
surmounted by exquisite capitals with mythological and floral motifs, from which span the rounded arches
phore above. The side walls are pierced with four single bay windows on each
side through which light filters into the interior. The transept is entered through a triumphal arch; it is raised
up on three steps and encloses the central apse where the main altar stands. The baptism font is probably
atributable to the School of Nicolaus and comprises a single block of stones decorated with twining vines
and palms, and resting on a lily patterned base is the pergamo, finely carved and created in the XVIIth
cent with material taken from the ciborium and from the pulpit. The pulpit itself is a marvellous work
by Nicolaus Magister, as may be read on the back of the lectern, was reshaped in the XVIIIth cent; the
front is divided into squares with small rose motıfs in the centre and is supported by XVIIth cent. columns.
Uts highly effective sculptural decoration may be admired in such details as the eagle that supports the reading
lectern and the relief of the balustrade of the staircase. To the sides of the main doorway stand the mausolei
of Mons Cornelio Musso (1554-1570), one of the fathers of the Council of Trent amd of Bishop Giovanni
Barba (1737-1749) The crypt is the same size as the transept and s divided into four naves by columns
taken from earlier constructions, with beautifiul capitals. Also of interest is the mausoleum of Giovamìnni
Maria De Ferrariis, a werk crafted by the Neapolitan sculptor Gerolamo D'Auria to a commission of 1580.