Castel del Monte. Geometry, Mystery, and Silence

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

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.

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.

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.

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.

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.

Castel del Monte. Geometry, Mystery, and Silence

Italian Dinner at Its Finest

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.

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.

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.

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.

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.

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.

Italian Dinner at Its Finest

The Legacy of Cosmas and Damian in Alberobello

During our visit to Alberobello, in the Puglia region of Italy, our main goal was to see the well-known district of trulli houses. Before heading there, we took some time to walk around the newer part of town and have a relaxed lunch. While exploring the streets, we came across the main church and decided to step inside. The church, though modest by Italian standards, contained statues of Saints Cosmas and Damian, which quietly drew our attention.

The church plays an important role in the religious life of Alberobello’s residents. Built in the 19th century, during a period of growth for the town, it was dedicated to Saints Cosmas and Damian, who are especially revered in this part of Puglia as patrons of health and medicine. In recognition of their local significance, the decision was made to build a church that could accommodate a larger congregation.

Each year, on 27 September, the town holds celebrations in honour of the saints, drawing both residents and visitors. The festivities typically last several days, from 25 to 28 September, and include religious services, a procession through the trulli-lined streets, and cultural events such as concerts and fireworks. During the main procession, the saints’ statues and relics are carried through the town by parishioners in traditional dress, accompanied by music and banners.

The tradition of honouring patron saints, deeply rooted in Christian history, continues to thrive in modern Europe. Originally centred on saints believed to offer protection and guidance to certain groups, professions or places, the practice has evolved, yet remains a meaningful part of communal life. Today, patron saints are still celebrated through festivals, public holidays, and ceremonies, not only in religious settings but also in secular life – influencing city patronage, schools, and even sports teams. In southern Italy, such traditions often serve as a bridge between faith and regional identity, helping to preserve local customs and foster a sense of belonging. Alberobello’s devotion to Saints Cosmas and Damian is one such example, rooted in a long-standing belief in the saints’ protective powers, particularly in times of illness or crisis.

Saints Cosmas and Damian, also known simply as Cosmas and Damian, were twin brothers and Christian martyrs from the late 3rd century. Highly venerated in both the Eastern Orthodox and Roman Catholic traditions, they were born in Arabia and practised medicine in the Roman province of Syria, likely in the city of Aegeae (modern-day Ayas, Turkey). As physicians, they were known for their skill and their refusal to accept payment, earning them the title of unmercenaries — those who offer healing freely. Their medical work was closely tied to their Christian faith, which they often shared with their patients.

Cosmas and Damian offer a meaningful way to introduce the contrasting ideas of mercenaries and unmercenaries. In the Christian tradition, mercenaries are typically seen as those who act from self-interest – offering their services, particularly in warfare, for material gain. In contrast, unmercenaries represent a different ethic – one of selfless service, charity, and devotion. Cosmas and Damian devoted their lives to healing without financial reward, guided instead by compassion, faith, and a strong sense of spiritual duty. This made them not only remarkable physicians but also enduring moral figures whose legacy extended well beyond medicine. While mercenaries operate on transactional value, unmercenaries embody a vision of care grounded in love and justice. Their story invites reflection on how acts of healing – and care more broadly – can rise above economic interests to become sacred gestures of human solidarity.

During the reign of Roman Emperor Diocletian, known for his severe persecution of Christians, Cosmas and Damian were arrested for their faith. Despite enduring torture, they remained steadfast and were ultimately beheaded. Their unwavering belief, along with the miraculous healings attributed to them, led to their canonisation. They are said to have survived multiple execution attempts before their final death – with legends describing them being thrown into the sea, burned alive, or crucified, only to escape each time through miraculous means. Their cult spread rapidly across the Roman Empire, and churches dedicated to them began appearing as early as the 5th century. One of the most notable is the Basilica of Santi Cosma e Damiano in the Roman Forum, established by Pope Felix IV, which remains an important site of devotion.

Today, Cosmas and Damian are recognised as the patron saints of physicians, surgeons, and pharmacists, and are often invoked for protection against illness, particularly during times of plague. Their feast day is celebrated on 26 September in the Eastern Orthodox Church, and on 27 September in the Roman Catholic Church. Their legacy lives on in the many churches, hospitals, and medical institutions named in their honour. Their popularity remains strong in southern Italy, Brazil (notably in Salvador and Rio de Janeiro), and parts of the Middle East. In Brazil, the feast is marked by the distribution of sweets to children, symbolising the saints’ kindness and generosity. In Italy, many towns – especially in Puglia, Campania, and Calabria – have chosen Cosmas and Damian as their patron saints, reflecting their enduring significance across cultures and centuries.

Below other photos from the Cosmas and Damian church in Alberobello.

The Legacy of Cosmas and Damian in Alberobello