A Quiet Encounter with History. Visiting Bari’s Norman-Swabian Castle

2025 By justmovingaround in ITALY, Sightseeing Tags: Bari, Bona Sforza, Italy, Medieval, Norman-Swabian Castle

In the very heart of Bari, not far from the seafront and the narrow lanes of the old town, stands the imposing Norman-Swabian Castle. Although it isn’t among the region’s most visited landmarks, its history and architecture are well worth exploring – especially if you’re drawn to places with character and soul.

Bari is a city in Apulia, southern Italy. I spent a few days there, exploring both on foot and by car, driving in and out through the more modern parts of the city, which gave me a decent overview of its structure. Aside from contemporary districts, Bari it is historic centre, which can be divided into two clearly distinct areas. The first, Bari Vecchia, is the medieval quarter, with narrow alleyways, an old cathedral, and a castle. The second Quartiere Murat features a more neoclassical look, typical of many Italian towns. Its main artery is Corso Cavour, an avenue named in honour of the first prime minister of a united Italy.

Today’s post is dedicated to the castle. It is known as the Norman-Swabian Castle (Castello Normanno-Svevo di Bari), named after its historical ties to two powerful dynasties: the Normans and the Swabians (Hohenstaufen).

The Castle’s History

The castle was originally built around 1132 by King Roger II of the Normans, on the foundations of earlier Byzantine structures. It was intended to serve as a defensive fortress and a symbol of Norman rule in Apulia. The Normans, who hailed from Normandy in northern France, were descendants of Vikings who had settled there in the 10th century. In the 11th century, some of them – mainly as mercenaries – began arriving in southern Italy and Sicily, taking advantage of local conflicts among Byzantines, Arabs, the Papacy, and local rulers. Over time, under the leadership of the Hauteville family (notably Robert Guiscard and Roger II), they conquered Apulia, Calabria, Naples, and Sicily. In 1130, Roger II crowned himself King of Sicily, establishing a kingdom that encompassed much of southern Italy.

In the mid-12th century, Bari often rebelled against central Norman authority. In 1155, backed by the Byzantine Empire, the city rose up against William I, son of Roger II. In retaliation, the king ordered the destruction of the city walls and the castle – an act of repression and a demonstration of power against local dissent. Around a century later, following the takeover of the Kingdom of Sicily by the Hohenstaufen dynasty, the castle was rebuilt by Emperor Frederick II, son of Constance, daughter of Roger II. The reconstruction, carried out between 1233 and 1240, gave the castle its characteristic trapezoidal layout, with a central courtyard, massive corner towers, and a moat (except on the northern side, which bordered the sea).

In the 13th century, following the death of Frederick II and the fall of the Hohenstaufen dynasty, Bari came under the control of the Angevins, and from 1442, the Aragonese, as part of the Kingdom of Naples. During this period, the castle underwent gradual transformations – especially in the Renaissance era, when Isabella of Aragon and her daughter Bona Sforza transformed it into an elegant residence. A monumental staircase, chapel, and courtly interiors were added. In 1504, Bari fell under the rule of the Spanish Habsburgs. In 1696, a lightning strike hit one of the castle’s towers, igniting stored gunpowder and causing a major explosion that damaged both the castle and surrounding buildings.

After the War of the Spanish Succession, Bari came briefly under Austrian rule in 1707, and from 1734 became part of the Kingdom of the Two Sicilies, ruled by the Bourbon dynasty. During this time, the castle lost its residential status and was used as a prison and military barracks. In 1861, following the unification of Italy, Bari and its castle were incorporated into the newly formed Kingdom of Italy.

A popular legend is linked to the castle, involving Saint Francis of Assisi. During his journey to the Holy Land, he is said to have stopped in Bari, where Emperor Frederick II tested him by placing him in a tower with a young woman. Francis resisted the temptation, and the tower became known as the Monk’s Tower or Tower of Saint Francis.

The Castle’s Exterior and Interior

Architecturally, the castle is defined by its massive stone structure, characteristic of medieval fortifications, designed to impress and defend. It is surrounded by a dry moat, once serving as an additional protective barrier, and accessed via a bridge that leads to the main gate. The layout follows a trapezoidal plan, with four sturdy corner towers framing a spacious central courtyard.

Yo can see the blend of architectural styles, reflecting the layers of history embedded in its walls. The robust Norman foundations are complemented by Swabian modifications combining military precision with elegant form. Gothic windows and arches soften a bit the austere structure, while later Renaissance additions give it a touch of refinement.

Norman-Swabian Castle, Bari, Italy | Castello Normanno-Svevo, Bari, Italia | Château normand-souabe de Bari, Italie | Normannisch-staufische Burg, Bari, Italien | Castillo normando-suabo, Bari, Italia | Zamek normańsko-szwabski w Bari, Włochy | Норманно-Швабский замок, Бари, Италия | 巴里诺曼-施瓦本城堡，意大利 | バーリのノルマン・シュヴァーベン城

Exterior and interior views of the castle reveal the passage of time and a mix of architectural styles. The central courtyard feels rather bare, but it’s worth remembering this was originally a fortress, only later adapted during the Renaissance. The castle is largely unfurnished, with a few multimedia installations aiming to evoke its past

That said, much of the structure remains closed to the public due to ongoing restoration work. During my visit, I had the distinct impression that not everything has yet been unveiled — parts of the castle feel hidden or inaccessible, and some spaces could be better presented to help visitors connect with the site’s layered past. The inner courtyard, though spacious, felt somewhat stark and empty, offering little to linger over. With its few windows and fortress-like interiors, the castle clearly functioned more as a stronghold than a residence. Perhaps in the future, once renovations are complete, more of the building’s potential will be revealed.

Today, the Norman-Swabian Castle of Bari serves as a museum and cultural centre, hosting exhibitions, concerts, and artistic events. On the ground floor, visitors can explore collections of sculpture, ceramics, and archaeological finds – some original, others cast replicas. From an upper upper gallery at the ground floor, visitors can view archaeological excavations in the lower levels of the castle. The interior is sparsely furnished, with only a few pieces on display. However, visitors can walk through the chambers and along the defensive walls, where several rooms feature historical multimedia projections. The site also houses a Gipsoteca, a plaster cast museum displaying Romanesque art from Apulia, including details from the Basilica of Saint Nicholas in Bari and the Cathedral of Trani.

A few examples of the plaster casts on display in the Gipsoteca inside Bari’s castle.

When I visited the castle in late 2023, one of the halls featured a visual narrative on the life of Queen Bona. Who was Bona? She was the granddaughter of Alfonso II of Aragon, King of Naples, through her mother, Isabella of Aragon. In 1518, after marrying King Sigismund I the Old of Poland, she was granted Bari and Rossano as a fiefdom by Emperor Charles V. Although she spent most of her life in Poland, the castle in Bari remained part of her hereditary estate. She managed her Italian holdings and played an active role in administering the castle and surrounding lands. Both Bona and her mother transformed the fortress into a Renaissance residence, adding a monumental staircase and chapel. During this period, the castle became the seat of a refined court blending Italian and Polish influences. Bona’s legacy in Bari is so profound that her sarcophagus was placed above the altar in the nearby Basilica of Saint Nicholas (Basilica di San Nicola).

Scenes from the multimedia presentation on Queen Bona, featuring her elegant Renaissance dresses and her significant political role as Queen of Poland.

The Norman-Swabian castle of Bari is not yet a fully curated museum space, but its structure, setting, and historical significance remain an integral part of the old town’s landscape.

BARI photo gallery

A Quiet Encounter with History. Visiting Bari’s Norman-Swabian Castle

Castel del Monte. Geometry, Mystery, and Silence

2025 By justmovingaround in Art and Artefacts, ITALY, Sightseeing Tags: Castel del Monte, Frederick II, Italy, Puglia

Rising from the hills of rural Apulia in Southern Italy, Castel del Monte appears almost out of nowhere – a perfectly geometric, octagonal fortress surrounded by silence and olive groves. It’s one of those places that looks more symbolic than practical, and that’s part of what makes it so intriguing.

Despite its remote location, Castel del Monte attracts a steady flow of visitors – drawn not only by its UNESCO status, but also by its unique, almost mathematical design. Perched high on a hill and surrounded by quiet countryside, it feels detached from the everyday world, yet still manages to be surprisingly accessible.

Castel del Monte was commissioned by Holy Roman Emperor Frederick II (1194–1250), a member of the Hohenstaufen dynasty, who reigned as King of Sicily from 1198, King of Germany from 1212, and Holy Roman Emperor from 1220. The Apulia region fell under his direct rule as part of the Kingdom of Sicily, inherited from his mother, Constance of Sicily. It was constructed between 1240 and 1250.

Despite its fortress-like appearance and elevated position, Castel del Monte was not built for military purposes, as it lacks defensive features such as a moat or drawbridge. Its true function remains uncertain, with theories ranging from a hunting lodge or a place of study, to a symbolic expression of imperial power – or even an astronomical observatory.

Castel del Monte on approach

Location

Castel del Monte stands in the Apulia region of south-eastern Italy, within the Alta Murgia National Park. It is located atop a hill 540 metres above sea level, around 20 kilometres from the town of Andria.

We reached Castel del Monte by car. Departing from Bari, the regional capital, we followed the A14 motorway towards Andria and continued along local roads. The drive took just over an hour. At the foot of the hill on which the castle stands, there is a small car park. Although conveniently situated, the parking area is quite limited and can become crowded in peak season. Fortunately, we had no difficulty finding a space, as we visited in mid-November on a misty, drizzling day. From the car park, the ascent to the hilltop is brief and can be done on foot.

Architecture

Castel del Monte is a masterpiece of medieval architecture, renowned for its strict geometric precision and the harmonious blending of diverse stylistic elements. The core of the structure is a perfect octagon, with eight octagonal towers positioned at each corner. This motif repeats throughout: both floors feature eight rooms arranged around a central octagonal courtyard. Each outer wall is of equal length, and doorways and windows are placed in accordance with a strict axial rhythm, reinforcing the architectural coherence of the whole. The mathematical precision of the layout creates a strong sense of balance and symmetry.

The rooms themselves are architecturally restrained yet refined. The design draws on a mixture of stylistic influences, combining elements of Islamic, Romanesque, and Gothic architecture. Inside, Arab-style pointed arches contrast with classical Greco-Roman tympanums that crown several entrances, while Gothic windows, sculpted from pale limestone and white marble, introduce verticality. The central courtyard, open to the sky, serves both a practical and symbolic role – channelling light into the surrounding roomss while reinforcing the castle’s geometric core.

Today, the interior of Castel del Monte is entirely unfurnished. Visitors are invited to experience the architecture in its purest form – unmediated by decoration or modern reconstruction. The raw stone, the vaulted ceilings, and the spatial rhythm of the layout offer a contemplative, almost a monastic atmosphere.

Geometry and Symbolism

Frederick II, who commissioned the castle was not only a powerful monarch but also a patron of knowledge. His court was a centre of intellectual exchange, bringing together the scientific, including mathematics and cosmology, and philosophical traditions of the Islamic world, medieval Christianity, and classical antiquity.

Frederick’s fascination with mathematics was reinforced by his association with leading thinkers such as Leonardo of Pisa – better known as Fibonacci. The renowned mathematician, who studied in North Africa, dedicated his Liber quadratorum to the emperor. Other scholars at Frederick’s court, such as Michael Scot and John of Palermo, translated key Arabic texts into Latin, enriching the emperor’s access to advanced ideas in geometry, astronomy, and numerical symbolism.

Although the identity of the architect is unknown, it is widely believed that Frederick himself played a significant role in the conceptualisation of the Castel del Monte. Central to the castle’s design is the number eight. In Christian tradition, the number symbolises regeneration and eternal life; in Islamic architecture, the octagon often mediates between the earthly square and the heavenly circle, reflecting a cosmological balance.

Historical Transformation

Since its construction in the 1240s, Castel del Monte has undergone several transformations. After Frederick’s death in 1250, it passed into the hands of successive dynasties ruling the Kingdom of Naples. Under Angevin and later Aragonese control, its symbolic imperial role diminished. Over time, it was repurposed – as a hunting lodge, a prison, and a military outpost.

By the 16th and 17th centuries, the castle had fallen into disrepair. Neglected and looted, its fine materials – including columns, marble cladding, and decorative details – were removed or sold. During this period, it also passed into private ownership.

Recognising its cultural significance, the newly unified Italian state acquired the castle in 1876 for 25,000 lire. Restoration work began in 1928 and continued in phases throughout the 20th century. In the 1950s, under the direction of Bruno Malajoli, further interventions helped stabilise the structure and restore elements of its integrity.

In 1996, Castel del Monte was inscribed as a UNESCO World Heritage Site. Today, it is managed by the Italian Ministry of Culture.

Why “Castel” and Not “Castello”?

While the modern Italian word castello simply means “castle”, the name Castel del Monte uses the older, shortened form castel – and this is no coincidence. Castel is an archaic variant commonly used in the Middle Ages in proper names of places and fortifications. This linguistic form has been preserved in traditional place names such as Castel Gandolfo or Castel San Pietro.

Etymologically, the word derives from the Latin castellum, meaning “fortress” or “stronghold”. The abbreviated form was widely used in medieval geographic naming, much like San is used instead of Santo in the names of saints. Retaining this form in the name of the castle highlights its historical origin and connects it to the linguistic traditions of the time.

Castel del Monte may not overwhelm with grandeur or elaborate exhibitions, but its quiet presence lingers. There’s a sense of order in its geometry, uncertainty in its purpose, and stillness in its setting – a rare combination that makes the visit feel less like ticking off a landmark, and more like stepping into a space designed to make you pause. Geometry, mystery, and silence – it really is all there.

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Castel del Monte. Geometry, Mystery, and Silence

Italian Dinner at Its Finest

2024 By justmovingaround in ITALY, Lifestyle Tags: cuisine, Italian Cuisine, Italian dinner, Italy, local food

An Italian dinner can be many things – quick and casual, or long and layered, like a quiet ritual. In Matera, on a chilly but sunlit November afternoon, I shared one of those slow, unfolding meals with my brother and his baby daughter. It wasn’t just about the food – it was about time, rhythm, and the quiet elegance of how Italians turn a meal into something more.

During our trip to Italy last year, my brother, his baby daughter, and I visited the stunning town of Matera. It was already November, and while the air had a bit of a chill, the weather was still wonderfully bright. At that time of year, despite Matera being a top tourist destination, the crowds had thinned out, leaving us to enjoy the town at a leisurely pace. We were able to sit on the terrace of a small restaurant, without needing a reservation, and take in the breathtaking view of the upper part of old Matera.

For the little one, we ordered a simple dish of gnocchi in a rich tomato sauce, but with such a beautiful view ahead of us and plenty of time on our hands, we decided to indulge in the full Italian dining experience that the restaurant offered. It was the perfect setting to enjoy a leisurely, traditional Italian meal, savouring each course at our own pace.

For most people, Italian cuisine is synonymous with pizza, various types of pasta, and of course, fresh olive oil as a staple accompaniment. However, a true Italian meal, especially in a more refined setting, is a much more elaborate experience, traditionally served in several courses. Our meal followed a classic Italian structure, beginning with antipasti, followed by two main courses, and finishing with dessert. What is important, we enjoyed this meal as a late lunch, but in Italy, this type of multi-course meal is typically served as an evening dinner.

So, what does a traditional Italian meal look like, and what was on our plates?

At the start of the meal, it’s common for freshly baked bread to be served, often accompanied by a bowl of extra virgin olive oil for dipping. Throughout the meal, wine plays a central role. In many restaurants, you can choose between bottled wines, often from renowned regional vineyards, or opt for the local vino della casa (house wine), which is usually served in carafes. House wines, whether red or white, are often simpler but still of good quality. Sparkling or still water is also commonly served.

A simple yet essential start to any Italian meal: freshly baked bread served alongside high-quality extra virgin olive oil. The crisp crust and soft interior of the bread pair perfectly with the rich, slightly peppery olive oil

Antipasto (Starter). The meal often begins with antipasti, which are small, flavourful appetisers meant to stimulate the appetite. These may include bruschetta, cured meats like prosciutto, a variety of cheeses, marinated olives, grilled vegetables, or carpaccio – thinly sliced raw meat (typically beef) or sometimes fish, dressed with olive oil and lemon. The antipasto serves as an introduction to the meal and sets the tone for what is to come.

Carpaccio, Italian appetizer | カルパッチョ, イタリアの前菜 | 生牛肉片, 意大利前菜 | 카르파초, 이탈리아 전채 | Carpaccio, aperitivo italiano | Carpaccio, entrée italienne | Carpaccio, italienische Vorspeise | Carpaccio, przystawka w kuchni włoskiej

A carpaccio, traditionally made from thinly sliced raw beef (sometimes veal). This version appears was garnished with additional ingredients like sun-dried tomatoes (likely preserved in olive oil), raisins or dark fruits, along with a drizzle of balsamic sauce and fresh herbs. You can also see delicate herb leaves adding freshness to the dish, as well as small pink peppercorns.

Primo piatto (First Course), This course is typically based on carbohydrates and may include pasta, risotto, gnocchi, or sometimes soup. Pasta is a staple of Italian cuisine, made from wheat and water (or eggs in some varieties), and comes in countless shapes and sizes, from the well-known spaghetti to more regional variations. Risotto is a creamy dish made from short-grain rice, which is cooked slowly by adding broth little by little, resulting in a rich texture. Gnocchi, on the other hand, are soft dumplings made from potatoes, flour, and sometimes eggs, offering a slightly different texture from pasta but often served with similar sauces. The primo is hearty and filling, but it’s just the beginning of the main part of the meal.

Pasta as the first course in Italian cuisine | パスタ, イタリア料理の第一皿 | 意大利菜的第一道菜是意面 | 파스타, 이탈리아 요리의 첫 번째 요리 | Pasta como primer plato en la cocina italiana | Pâtes en premier plat dans la cuisine italienne | Nudeln als erster Gang in der italienischen Küche | Makaron na pierwsze danie w kuchni włoskiej

The vibrant green pasta, likely coloured with spinach or herbs, is served in a creamy sauce and topped with sun-dried tomatoes and a crunchy ingredient I couldn’t quite identify. Interestingly, unlike many Italian pasta dishes, there’s no grated cheese, such as Parmigiano, which is commonly added in Italy to pasta with tomato-based or meat sauces. However, as is the case with seafood pastas, cheese isn’t always used, and it seems this dish follows that same approach.

Secondo piatto (Main Course). The secondo is the main course, usually focused on meat or fish. Unlike the primo, it is typically served without starchy additions, like pasta or rice. Common choices include roasted meats, grilled fish, or stews. If you’re dining in Italy, be prepared for the possibility of receiving just the meat with its sauce, like guanciale di manzo (beef cheeks), which are often served in a rich, slow-cooked sauce or meat accompanied by vegetables like in pollo a la Romana (Roman style chicken), where peppers, tomatoes, and onions are slow-cooked with the chicken, creating a rich, flavourful sauce that accompanies the dish. Don’t expect pasta or potatoes on the side, as you’ve likely already had your primo piatto earlier. The secondo is meant to stand on its own, with the focus squarely on the protein and its accompanying sauce.

Beef cheeks without sides as the second course in Italian cuisine | 牛ほほ肉, イタリア料理の第二皿 (付け合わせなし) | 意大利菜的第二道菜是牛脸肉（不带配菜） | 이탈리아 요리에서 사이드 없이 제공되는 소 볼살 요리 | Carrilleras de ternera sin guarnición como segundo plato en la cocina italiana | Joues de bœuf sans accompagnement en deuxième plat dans la cuisine italienne | Rinderbäckchen ohne Beilagen als zweiter Gang in der italienischen Küche | Policzki wołowe bez dodatków na drugie danie w kuchni włoskiej

Tender, slow-cooked beef cheeks, served in a rich, velvety sauce, an Italian delicacy. The meat had been braised until it was melt-in-your-mouth soft, with the sauce providing deep, hearty flavours. There’s a hint of both green pesto and red pesto, adding vibrant colour and tangy richness to the dish. Green pesto (pesto alla genovese) is a classic Italian sauce made from fresh basil, garlic, pine nuts, Parmesan cheese, and olive oil. Red pesto (pesto rosso), on the other hand, is typically made with sun-dried tomatoes, garlic, pine nuts, Parmesan, and sometimes a touch of chili for extra heat.

Contorno (Side Dishes). Side dishes, or contorni, often accompany the secondo. These are usually simple vegetable preparations, such as roasted potatoes, grilled zucchini, or a fresh salad. While not always necessary, contorni add balance to the meal and offer a lighter contrast to the richness of the main course. Contorni in Italy can (though not always) be served in quite generous portions. So before ordering additional vegetables in a restaurant, it’s wise to ask the waiter about the portion size, as you might find yourself with more on a plate than you can comfortably eat on your own.

No Italian meal is complete without a dolce, or dessert. This could be a classic like tiramisu, a silky panna cotta, or light, refreshing fruits, depending on the region and the occasion. Italian desserts are often rich in flavour but not too heavy, providing the perfect sweet finish to a meal. In one of the traditional Italian homes where I was a guest, dessert was a delightful mix of sweets, balanced with fresh fruits and nuts. After the dolce, Italians typically enjoy an espresso (caffè), a strong, concentrated coffee served in a small cup. Coffee is usually the last item served, although some may choose a digestivo such as grappa, limoncello, or amaro to help with digestion.

Our dessert was presented on a single long board, featuring an unexpected combination of ice cream, small pieces of cheese, and colourful dips served on individual spoons.

I traditionally ended the meal with a coffee, though not an espresso. Keeping in mind that Italians usually find it odd when someone orders a milk-based coffee, like cappuccino or caffè latte, with lunch or dinner, I chose an americano instead – a more diluted option, as espresso is a bit too strong for my taste. Interestingly, the name americano is tied to the fact that American soldiers during World War II would dilute their espresso with hot water to make it more like the coffee they were used to back home.

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