Abstract
Emile Bertaux in 1904 sets about the Holy Sepulchre of Barletta out all the terms of the problem which occupies us here: identity of the architect, circulation of models, mode of transmission, role of a Mediterranean port in the artistic creation in the 12th century. The only thing missing in the list is the liturgical implications of the architectural choices. The high chapel of the facade adopts the clunisian model, in a way that reminds the short clunisian galileas (Châtel-Montagne, Marcigny…) and the atrophied formulas of Cluny III and Vezelay, but with a radically different liturgical attribution. This point changes also radically the facts of the problem: how to explain the architectural choices made for this church and what do these choices mean? As Barletta is a port in touch with the Holy Land and Jerusalem, it appears, rather than southern Italy, as a melting pot of artistic invention. This melting pot contains many more influences than what was described in 1904. Barletta is the place where was...
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