Lecce (population 102.000), because of its 17C and 18C architecture, has been called the Florence of the Baroque. It was the birthplace of the painter, Antonio Verrio (c 1639-1707).
The central Piazza Sant'Oronzo, which lies roughly midway between the castle and the cathedral is dominated by a Roman column (from Brindisi) bearing a statue of St Orontius, tutelary of the city, appointed Bishop of Lecce by St Paul in AD 54 and martyred during Nero's persecution of AD 66 or 68. The square is partly occupied by the Roman amphitheatre, built in the 1C BC and excavated in 1938. In its time, the amphitheatre was able to host more than 25,000 people. It is now half-buried because other important monuments were built above it over the centuries.
Within, the elliptical passage that provided access to the lower order of seats, partially hewn out of the rock and partially built in opus reticulatum, can be followed to the left or right. Many fragments of the bas-reliefs that decorated the high wall separating the cavea from the arena (depicting wild animals, gladiators, etc.), and a few Roman inscriptions, are still visible. More reliefs, in infinitely better condition, can be seen at the Museo Provinciale. Several tombs dating from the 5C BC to Roman times were found in the environs.
The Sedile is a large building built in 1592 and used a set of the local council until 1852. Opposite is the Baroque church of Santa Maria delle Grazie, behind which lies the 16C castle. The latter, currently a military installation, consists of two concentric trapezoidal structures separated by a courtyard. The outer fortification, nearly 1km in circumference, was built by Charles V; the inner structure dates from the 12C.

SANTA CROCE
The church of Santa Croce, is the most celebrated of the town's Baroque monuments. Begun in 1549 by Gabriele Riccardi, the church was completed in 1679 and bears testimony to the styles of the city's most prominent architects. The church has a richly decorated façade with animals, grotesque figures and vegetables, and it has a large rose window. The elaborate main portal and the two lateral doorways were added in 1606 by Francesco Antonio Zimbalo (Lo Zingarello). The interior, has a nave and aisles separated by columns (note the ornate composite capitals with heads of apostles, and at the crossing, symbols of the evangelists), and 14 lateral chapels. The smaller rectangle of the sanctuary has an elegant apse and sculptured portal. Above the crossing, the luminous cupola (1590) and slightly pointed arches bear a rich sculptural decoration that is carried over into the vaults of the transept. In the coffered ceiling of the nave is a 19C representation of the Trinity. In the south transept stands the Altare della Croce, by Cesare Penna (1637-39), with a small loggetta for the exhibition of relics. The high altar, was brought from the church of Santi Nicola e Cataldo. In the chapel on the north side of the sanctuary is the Altare di San Francesco di Paola with bas-reliefs of the saint's life by Francesco Antonio Zimbalo (1614-15).
The Museo Missionario Cinese (Via Imperatore Adriano 79; open Tues, Thur and Sat 09.00-12.00, 17.00-19.00 or by appointment, tel. 0832392580), has a modest collection of Chinese art and crafts. Initially the Palazzo del Governo (1659-95), was built as a Celestine convent to a plan attributed to Zingarello. From here turn south-west, past the church of the Gesù or Buon Consiglio (1575-79) and the former Jesuit college adjacent, and cross Via Rubighi. Via Vittorio Emanuele leads west, passing the Theatine church of Sant'Irene (completed 1739).

PIAZZA DEL DUOMO AND VICINITY
The Duomo, is also one of the most important in Italy. It was built in 1144, and again in 1230, but it was totally restored in 169-70 by Giuseppe Zimbalo. It has an unusually high campanile (68m), terminating in an octagonal aedicule and two main façades. One of the façades, incorporates statues also by Zimbalo, in a sober Classical design. It fronts onto the smaller square of the elegant Palazzo Vescovile. The other, facing the piazza, is a sumptuous composition containing a statue of St Orontius in a monumental triumphal arch.
The interior is a rather ponderous Latin cross with nave and aisles divided by compound piers. The coffered ceiling displays scenes from the Life of St Orontius and, in the transept, a Last Supper. The first and second south altars were designed by Cesare Penna. Above the altar in the south transept is a painting depicting St Orontius, by Giovanni Andrea Coppola, perhaps the most prominent painter of the Baroque period in Lecce. The crypt, which dates from 1517, was restored in 1956.
The Palazzo Vescovile, is set back a little from the main square. It was constructed in 1420-38, and rebuilt in 1632. To the right stands the seminario, built between 1694 and 1709 to a design by Giuseppe Cino. In the spacious courtyard you can see a richly decorated well, also by Cino.
From Piazza del Duomo Via Libertini continues west past (left) the church of Santa Teresa, built, between 1620 and 1630. Across the street is the little church of the Assunzione (or Santa Elisabetta), constructed in 1519 but rebuilt in the 19C. The street continues past the church of Sant'Anna (left) to the church of the Rosario (also known as San Giovanni Battista), Giuseppe Zimbalo's last work, begun in 1691 and completed in 1728. The unusual interior follows the plan of a Greek cross developed the altars. Across the street stands the former Ospedale Civile (1548), now occupied by the Tobacco Administration. Further on is the 18C Porta Rusce.

THE SOUTHERN NEIGHBOURHOODS
The Roman theatre, is the only known example of its kind in Apulia. The extensively restored cavea has 12 rows of seats, although in all likelihood there were initially several more. These are divided into cunei by steps that converged upon the orchestra, which was separated from the cavea by a parapet, now replaced by a modern wall. The skene is pierced by numerous holes: some of these may have served for anchoring scenery, but others are more recent. The sculptural decoration of the proskenion and the skene itself are missing, but excavations of the site have unearthed numerous fragments (mainly Roman copies of well-known Greek originals). At the entrance of the street leading to the theatre is a small antiquarium with finds from the site and reconstructed rooms with mosaics and frescoes. The lower floor gives an orchestra-level view of the theatre and displays models of the theatre and the amphitheatre.
Via Augusto Imperatore continues south to the church of San Matteo (1667-1700), the façade of which recalls Borromini's San Carlo alle Quattro Fontane in Rome. The elliptical interior has shallow chapels and 12 statues of apostles on tall plinths. The high altar, an exemplary expression of local workmanship, dates from 1694. To the left Via Perrone leads past former mansions and through the 18C Porta S. Biagio to Piazza Roma and the Monumento ai Caduti (1928).

THE MUSEO PROVINCIALE
The archaeological collection, of the Museo Provinciale Sigismondo Castromediano (open daily 09.00-19.30, Sun 09.00-13.00; tel. 0832307415),
which begins on the first floor, is reached by a spiral ramp along which projecting platforms hold texts and illustrations relating to the Palaeolithic period in Italy; the Neolithic, late Neolithic and Bronze Ages in southern Italy; Greek and indigenous pottery; and Greek and Roman coins. Case 1, Greek and Roman coins. Cases 2-9, Attic black figure vases. Cases 10-71, Apulian ceramics, including a comprehensive collection of Gnathian ware and fine, extensive collection of Messapian trozzelle; small bronzes and terracotta statuary from Egnathia and Ruvo; large vases with reliefs, from Canosa; and a singular large basin painted in red, yellow, black and white. Cases 78-79, large bronzes, including hemispherical and conical helmets; bronze belts and belt buckles; cups, bowls, etc., chiefly from Rudiae. Case 80, small bronzes, including numerous fibulae, mirrors, statuettes, etc. Cases 81-82, terracotta statuettes and architectural ornaments. Case 83, terracotta children's toys (tintinnabula) from Rudiae. Cases 84-87, fragments of large jugs, oil lamps, fossils, small terracottas, keys, spear heads, etc. in iron. Around the ironwork dividing walls: Roman and Messapian inscriptions dating from the 3C BC-2C AD. A new installation, to be completed by 2004, will illustrate themes related to the life of the Messapians-the home, religious beliefs, etc.
The topographical collection, contains material dating from the Palaeolithic to the late Roman Imperial period, an eloquent testimony to the cultures that continuously inhabited Apulia over the last 20,000 years. Here also is a room devoted to 19C and 20C Salentine painters who rose to more than local fame: Toma, the Futurist Delle Pite, Ciardo, Calò, Barbieri.
The picture gallery, on the third floor, may be reached by lift. Room 1: on the right, 13C gold and enamel Psalter cover; 12C architectural fragments of local workmanship; Jacobello di Bonamo, polyptych (c 1380); Jacobello del Fiore, Madonna dell'Umiltà; 15C Venetian school polyptych from the church of Santa Caterina at Galatina; Gerolamo da Santacroce, Bishop Saint; 15C and 16C architectural fragments and bas-relief of local workmanship; 18C Byzantine icons and a small reliquary, also of Byzantine craftsmanship; compasses, goods case made from a horn, jewellery box (16C).
Cross the atrium. In cases, on the left, is a collection of coins and medallions ranging from 1220 (Frederick II) to the late 19C. Room 2: on the walls, paintings by southern Italian artists of the 17C and 18C. Cases 1-2, ivories, cameos. Cases 3-4 fans, and local paper and silk compositions (18C); against the pillar, wooden jewellery cabinet with ivory inlay. Case 5 (centre right), Castelli d'Abruzzo ceramics, from the 17C and 18C. Case 6, Venetian glass (also 17C and 18C). Case 7, Salentine ceramics. Against the right wall is a large, gaily painted wardrobe of Neapolitan manufacture (17C).

Porta Rudiae, the south-west city gate, recalls the city of Rudiae (3km south-west) The ruins, are of little interest, and they include some Roman streets, the scanty remains of public buildings and ramparts and numerous tombs.
Beyond Porta Napoli (a triumphal arch erected in honour of Charles V in 1548) is Santi Nicola e Cataldo, the most important Romanesque church of the Salentine and one of the finer Norman monuments in Italy. Its unique character results from a confluence of Byzantine, Arabian and proto-Gothic styles. The Baroque façade, attributed to Giuseppe Cino, incorporates a richly decorated portal, and the rose window from the original 12C building, together with pilaster strips and statues of saints.
The interior consists of a tall nave, narrow aisles, and a shallow transept, with Saracen arches on compound piers that recall the cathedral of Monreale in Sicily. Above the crossing the elliptical dome rises from an unusually high drum. Traces of frescoes can be seen along the walls. In the north aisle is an undistinguished statue of St Nicholas by Gabrieli Riccardi; in the south aisle, the 17C tomb of Ascanio Grandi, a native poet. The paintings above the lateral altars are by Giovanni Bernardo Lama.
In the south flank of the church can be seen a fine portal with a fresco of St Nicholas and an inscription regarding the building of the church in the lunette. From the cemetery, on the north side of the building, you can see the blind arcading that run salong the top of the wall, and the singular octagonal cupola, clearly Oriental in derivation.