The cathedral of the Blessed Virgin Mary Assumed in Heaven, already a cathedral, is the main Catholic Catholic site of Troy, a cathedral of the Lucera-Troy diocese. The church is a Latin cross-country building with important peculiarities and undeniable architectural interest located at Troia, in the province of Foggia, and built between 1093 and 1125. The building is dedicated to Blessed Virgin Mary Assumed in Heaven and is built according to the Romanesque style, although in its realization it was affected by the Pisan-Oriental style. It is one of the masterpieces of Romanesque architecture in Capitanata, not so much for its proportions as for the harmony of construction. The facade is 19 meters wide and 28.5 meters high. From the threshold to the apse, the cathedral is 54 meters long. In total, the building occupies an area of approximately 1325 square meters. In March 1958, Pope Pius XII elevated him to the dignity of a smaller basilica. From the architectural point of view, the façade is divided by a cornice that distinguishes the upper, lighter and lighter, lower, compact, revitalized by the presence of blind and semicolon arches. The top of the façade, which resembles the inner area of the central nave, is characterized by a double-sloping roof and is supported by two wide buttresses. But what characterizes the façade and determines its peculiarity is the play of architectural and sculptural parts that form a particular harmony. Particular interest deserves the unique rosette, for its undisputed beauty. The rose window is an exemplary example of sculptural tunnel technique: consisting of eleven columns (of a similar style to the Corinthian order) that radiate from the center of the same at the same angles as 32,72, which, in turn, are connected with a play of bows frame, is divided into eleven "clutches". The latter are decorated with perforated diaphragms different from each other and different from the decoration of the arches, creating thus twenty-two different decorations obtained exclusively by the tunnel technique, making the rosette appear as a laced embroidery. At the center of the rose window, the eleven columns rest on a scraped stone circle to determine a decoration that remembers a closing rope or a serpent barking the tail, a symbol of eternity, death and resurrection, as well as being of circular shape, symbol of perfection. The center of the rosette, therefore, symbolizes the figure of Jesus Christ. The arches that overlap the columns, to cover the entire rose window, are eleven. Starting from the apex of a column and following the pattern of the arcs, to return to the starting point, it is necessary to make two rounds of the rosette. The latter, that is, consists of a series of 6 + 5 bows that run. Even in this case there is a hidden but very important symbolic meaning: six and five represent respectively macrocosm and microcosm, Heaven and Earth respectively. The eleven number, being the sum, represents the union between these two realities, between what is ground and what is divine. In addition to the endless aesthetic ending, in this case we are faced with a symbol: this form, generated by the intersection of three distinct and separate circles, symbolizes the Trinity. On the north wall of the "Chapel of the patron saints" the following inscription is engraved. Felix antistes dom (i) nus Guillelmus secundus fecit hanc aede (m) D (e) or ac beatae Mariae vobisq (ue) fidelibus felici trojans. Another peculiar feature, very rare in ancient churches throughout Italy, is the presence of bronze doors. Inside, the cathedral cathedral consists of three aisles, divided by thirteen marble columns. The presence of an odd number of columns is due to the fact that, entering from the central door, the first column on the right is double. Symbolically, the number thirteen represents Jesus with his apostles.