The Cathedral, devoted to S.Maria Assunta, she was built by Federico II, contemporarily to the foundation of the city between 1232 and the 1254.

Partially destroyed, perhaps from an earthquake, she was reconstructed in the 1316.

A walled headstone above the door angioina, protected by an iron gate, it is to remember us the downfall of the Temple happened under the government of Roberto Di Angiò. Its reconstruction was submitted teacher of art to the children of certain Suggestion of Bitonto.

THE OUTSIDE

It is a pleasant architectural complex for perfection, lightness and agility, of a discussed style and variedly classified, not certainly pure, but constituted by a whole architectural elements so well coordinated among them to be offered as a whole a harmonic and unitary beauty.

The native style Romanesque-pugliese, from some classified more properly “federiciano” for the personal and genial imprint of Federico II and also for the fact that the cathedral of Altamura is the only one built for his will, it is observed better on the right broadside articulated by seven arcades and adorned of a beautiful portal erected by the king Roberto of Angiò.

The Door angioina, on the northern broadside, it goes up again to 1316, that is to the reconstruction after the collapse of the edge to northeast. It is work of the children of Ledger Suggestion of Bitonto. She was called “door of the spices” when the daily market developed him in plaza.

In 1485 the title of the Cathedral was elevated to Collegiate Eminent and it achieved an amplification of it in the west part to give space to the new clergy. The prolongation allowed, therefore, the presence of the presbytery and the choir.

In 1534 the beautiful Principal Door (halves the XIV century) was situated in the opposite façade and the bell tower it came so to be before.

Around 1560 a symmetrical bell tower is added on the new façade, in 1587 they are lengthened both the bell tower and in 1729 the cuspidis are added.

Commissioned by the bishop Niccolò Sapio, the majestic lions that guard to make the portal were carved by Master Antonio da Andria in 1533. Note that the lion of the left (as you look from the outside) interest less well to the weight of the column, which was necessary to wedge a block of stone in the belly.
In subsequent years the floor was redone in marble and marble and indorature were coated columns and other parts.
In 1858 instead of the seat is built the clock tower in the neo-Gothic.
The original beauty has remained unchanged: they are to admire the elegant façade acute arc dominated by two imposing towers, the great portal of the XIV-XV secolo century as “the richest of Puglia and one of the most important of the region, the stupendous fourteenth century rose window, a 15-ray, starting dall’Agnus Of central arches with triple ring terminals within richly carved.
The crests above the slightly ogival portal, under the cusp, Angevin witness the commissioning of the parent of all the southern portals. It says the mission of Christ by reading from the bottom upwards. The bezel incorporates the Annunciation, the divine maternity of the Assunta and, in the predella below, the Last Supper.
On the front is the great emblem of Emperor Charles V (1500-1558), with biceps the eagle of the Habsburgs.

THE INTERNAL

It is, with three naves and in the nineteenth century as has the original structure with slender columns, the precious capitals, the columns of the ancient galleries and the rich carvings that surround all the doors and windows. There are many valuable works of art that recall the tribute of faith offered by kings, lords and humble people:

  • a fine inlaid choir of 1543, the work of masters Napolitain, consisting of 64 stalls in walnut and several others that offer a unique overview of all Christianity;
  • The Conversion of St. Paul, under Domenico Morelli (1876 - third chapel);
  • the Assumption, patroness of Altamura, a large walnut table behind the altar made by Neapolitan maestro Leonardo Castellani in 1546, disfigured and restored several times. The original painting was tall and 7.50 meters wide 4th Forty altamurani carried on the shoulder from the port of Trani, where he arrived on a ship from Naples. The unfortunate cut 1.50 meters from the top of the framework took place in 1793 to fix in the new frame of marble;
  • The water in marble, carved in baroque style in 1735;
  • the sixteenth century pulpit carved in wood;
  • Ambon the stone on columns and panels on which are carved scenes from the life of Christ;
  • The Cabinet of Sacrestia 1543 walnut;
  • The high altar, a marble, is in 1793.

The serafinis on the sides are the work of the sculptor Francesco Evangelista Neapolitan (1879). Especially nice is the right angel, absorbed in solemn roses. In the sacristy is a large cupboard in walnut with inlays of 1547.
In 1587 the priest Iacobuzio de Altamura Cobutiis made by local craftsmen carve the stone crib altamurana painted. Prepared the perpetual privilege of the chapel. The stalactites are from the caves very frequent in the surrounding area. The chapel that housed the crèche was a sacristy after the reversal of the facade was dedicated to Our Lady of Constantinople, then to the altar of SS.Sacramento.