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The Veneto: Padua and Verona

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Sant'Antonio The Santo
Santa Caterina
Santa Croce
Santa Giustina
Santa Lucia
Santa Margharita
Santa Maria dei Servi
Santa Maria del Carmine I Carmini
Santa Maria del Torresino Santa Maria del Pianto
Santa Maria della Carità The Scrovegni Chapel
Santa Maria in Vanzo
Santa Maria Vergine
Santa Sofia
Santi Firmo e Rustico
Santi Massimo e Osvaldo

il Santo

Built by Franciscans to house the tomb of St Anthony, the order's second saint after their founder, this church became their second most important after the founder's church at Assisi. Anthony was canonised by Pope Gregory IX on 30th May 1232, a year after his death and construction here began later the same year. When he fell ill in Camposampiero, outside Padua, he had asked to be brought here to die. Dying on the way back, he had been buried in the small church of Santa Maria Mater Domini, which probably dated from the late 12th Century. This church was incorporated into the present basilica as the Cappella della Madonna Mora (Chapel of the Dark Madonna). Work on the basilica was completed around 1350, and his body was transferred here on 8th April 1263, moving to its present location in 1310. Many modifications between the end of the 14th Century and the mid-15th and repairs following fires in 1567 and 1749.

The church
Brick with mostly gothic detailing, using white marble. The cluster of five cupolas is striking, with the central one being conical, with two towers behind and two minarets. In plan the five domes form a cross. The facade has four deeply recessed arches with the door in the middle topped by a 1940 copy of Mantegna's lunette fresco of The Monogram of Christ with Saints Anthony and Bernard (see above). The original is now in the museum here. Above the lunette is a 1940 copy of a statue of Saint Anthony, the original by Rinaldino of France, is in the museum here too. Above is a loggia of 17 columns topped by a pediment with a rose window flanked by two mullioned windows.

A photograph taken before 1912.

An aisled church with a crossing and transepts; the long chancel has an ambulatory with nine radiating chapels. Donatello's crucifix and bronze panels around the high altar not easily accessible.
On the right is the large Chapel of San Giacomo (San Felice) (see photo right). Bonifacio Lupu, a condottieri and a guelph exile from Parma, had hoped to be buried in the baptistery in Florence. When this request was refused he commissioned this chapel to be built. But documents recently discovered show that the chapel was initially planned as a resting place for his grandfather, Guglielmino Rossi, and his uncles Rolando, Pietro and Marsilio. The sarcophagus on the left contains their remains. Andriolo di Santi was employed to construct a chapel imitating the appearance of St Anthony's chapel opposite, as it then was. Work began in February 1372, until December 1375 when, following Andriolo's death, the work was completed by his son. Altichiero began work on the frescoes in 1377.
The lower register of the back wall  is dedicated to the Life of Christ, with the Crucifixion in the centre, the Annunciation in spandrels in the far corners, and the Entombment and Resurrection in lunettes above the two flanking tombs. Saints with Franciscan and Paduan connections are depicted in eight medallions in spandrels on the back wall and on the inner façade. Doubts as to how much of the work here and in the Oratorio di San Giorgio was actually done by Altichiero himself have been expressed. That these works were made in collaboration with fellow Veronese Jacopo D’Avanzi is mostly accepted, but the division between them is constantly argued. The most recent scholarship gives them to Altichiero solely, but with a different hand detected, especially in the lunettes.
Scenes from the life of St James of Compostella take up the rest of chapel, beginning in the upper lunettes on the east wall and wrapping around the west and south walls to end beneath their starting point on the lower tier. The choice of scenes is a little eccentric, with the family thought to be responsible for choosing episodes from the saint's life involving his persecution by the wicked Queen Lupa, who later converted and had her palace converted into a church. The similarity between her name and theirs is thus celebrated, along with her and they having endowing foundations dedicated to St James. Portraits of family members, their allies, such as the ruling Carrara family, and friends like Petrarch and Lombardo della Seta, his secretary, appear in some scenes too. There are also many representation of wolves (lupi) to be found around - on the façade, the tomb, the ceiling, the two lecterns and on the celebrant's vestments.
The altar here dates to 1503 and contains the body of Saint Felix.

Opposite is what might be described as the spiritual heart of the basilica - St Anthony's Chapel. The saint's body was moved often, from it's original resting place in Santa Maria Mater Domini, which became the Cappella della Madonna Mora, then during the various stages of rebuilding was moved to the high altar, possibly, and to a marble sarcophagus on columns, and finally to this chapel in the north transept by 1371. It is not known why it was decided to make the tomb accessible to all, and not buried in a crypt visitable only by a select few, as at Assisi. On the 8th of April 1263 the tomb was opened in the presence of Saint Bonaventura. His body had decomposed but Anthony's tongue was found to be intact, 'rubicond and beautiful', and so the miraculously preserved organ was removed and placed in a reliquary still kept here. The original gothic chapel was completely rebuilt in renaissance style in the 16th Century. The previous structure is said to have been similar to the chapel of San Giacomo opposite, with a five-bay arcade with statues in niches above. It had a now-lost fresco cycle attributed to Stefano da Ferrara depicting, amongst other things, four miracles and the death of St Anthony. There are now bas-reliefs of the life of the saint by Antonio Minello,  Jacopo Sansovino (Resurrection of a drowned girl and Saint Anthony resuscitates a drowned boy), Tulio Lombardo (The Miracle of the Usurer and Saint Anthony reattaches the foot of a young man.) These four are the 4th to 7th of the panels. The 9th is Saint Anthony makes the newborn baby speak in order to attest his mother's honesty by Antonio Lombardo, the brother of Tulio.
Through an arch to the right of Saint Anthony's chapel is the Cappella della Madonna Mora, all that remains of the earlier church of Santa Maria Mater Domini. It is so named because the statue above the altar is of Mary with dark hair. It is the work of  by Rinaldino of France, also responsible for the Saint Anthony over the Santo's door. Behind the statue is a fresco by a 'disciple' of Altichiero. Frescoes here include Jesus Leaving his Mother by Giusto de Menabuoi, but this is only claimed in one guidebook. I will check.
 Off this chapel is the highlight Capella del Beato Luca Belludi, Saint Anthony's companion (see above right) with 68 frescoes of around 1382 by Giusto de Menabuoi and his studio. They depict scenes from the lives of Saints Philip, James the Younger and the Elder and Luke Belludi and were restored in 1988. The most famous panel is probably the St Anthony appears to the blessed Luke, with it's impressive panorama of Padua.

The Museum
Contents include the lunette fresco by Mantegna for the Basilica’s doorway and altarpieces by Tiepolo, Carpaccio and Piazzetta. In 2015 the museum introduced a permanent exhibition called ‘Donatello in the Basilica’ -  two rooms of photos, plaster casts and information panels. Here you can see a reproduction of the works Donatello made for the Santo, but which they won't let you get close enough to admire in the church.

Opening times
Weekdays 6.20am - 6.45pm
Easter to end of October 6.20am - 7.45pm
Saturdays and Sundays 6.20am - 7.45pm

Oratorio and Scuola (see below)
April - September 9.00-12.30, 2.30-7.00
October-March 9.00-12.30, 2.30-5.00
€3.00 each or €6 for both

The Courtyard
in front of the church, which was once used as a cemetery, contains the famous bronze  equestrian statue of
Erasmo da Nami, known as Gattamelata (The Honeyed Cat) the Venetian condottiere, commissioned from Donatello by Gattamelata's wife, Giacoma da Leonessa. It is famed as the first equestrian statue cast in bronze in Italy since Roman times. The tall plinth has two doors, one open and one ajar. Along the south side are the...



A photograph taken before 1912.

Oratorio di San Giorgio and  Scuola del Santo

The Oratory
is an aisleless small space, plainly wood panelled below and gorgeously frescoed
above. (see below) It's a feast of Altichiero, with scenes from the Lives of Saints George, Lucy and Catherine. Also four scenes from The Early Life of Christ an Annunciation and a votive fresco featuring the commissioning Lupi family.  The Crucifixion scene behind the altar has the artist's characteristic horse bottoms and pony tails, with some very Giotto-like expressions and angels, and a Coronation above. The entrance wall has an Annunciation, two Adorations, the  flight into Egypt and the Presentation. The left hand wall is the life of St George, the right-hand Saint Catherine above and Saint Lucy below. The ceiling roundels have the four evangelists over the altar. The frescoes were covered in whitewash until 1837.



The Scuola has frescos of the life of Saint Anthony (see below) with three very early works by Titian - the
first two on the right as you enter - including the small one at ground level behind glass - then one by his
brother Francesco. Also the first two on the wall left of the altar.


Santa Caterina   Santa Croce

Rebuilt in the 13th Century and at the end of  the 17th. Contains the tombstone of the composer Giuseppe Tartini and his wife to the right of the baroque high altar.



Aisleless with two shallow chapels each side, two with painted altarpieces by Mariotto, two with carving - a Mary and a Crucifix. The deep apse-ended choir rather concentrates the lighter baroqueness of the rest of the church.


Santa Giustina

It is said that in 304 Giustina, a 16 year-old Paduan of noble birth, was martyred with a sword and that over her tomb here, in an Early Christian cemetery, a Basilica was built in 530. It became a Benedictine abbey in the 8th Century using funds, it is said, provided by the invading Lombard kings Liutprando and Ildebrando.  More rebuilding from 1117, after the same earthquake that did for many of Padua's churches. After two more rebuildings came the church's current form, which dates from 1529-79 with Girolamo da Brescia, Andrea Moroni and Andrea da Valle as successive architects. Said to be the 11th (or 9th) largest Christian church in the world.
The Benedictine monastery and church was suppressed by Napoleon in 1810, and suffered much through its use from 1816 as a barracks by the Austrian army, but the church reopened and a monastery was re-established here in 1919. This now houses a library and book-restoration centre.

The church
Bare brick and huge - larger than the Santo, which seems to have inspired its form, especially the four large and four small domes. Two Veronese rosso e grigio marble gryphons (see right) on the façade, taken from the protiro of the medieval church.

Big and renaissance, with very chunky pillars. Six deep flat-backed chapels in three bays down each side of the nave with three shallow cupolas over the nave corresponding with each bay. The first five chapels each side have matching marble altars surrounding, mostly 17th Century, ordinary altarpieces, not a few of them featuring Saint Benedict. The fifth on the right is the best lit with Palma Giovane's Saint Benedict receives Saints Maurus and Placidus. There are also works by Bissoni and Balestra.
Then there's a pair of more apse-ended chapels with sculpture-topped altars. The huge transept has apse-shaped ends too with big altars. There's than another pair of apse-ended chapels with sculptural altars, then two more deep chapels flank the choir.
There are staircases down to a crypt either side of the stairs up to the choir. Over the high altar, far off at the end of the choir, is Veronese's crowded masterpiece The Martyrdom of Santa Giustina of 1574/5, which has the church in the left background. It features, according to Pignatti, 'a flight, nothing less than irritating, of too many angels.'  The (roped-off) choir also has carved choir stalls of deserved fame and the remains of the saint under the high altar.
The chapel right of choir has a very agitated Pieta by Filippo Parodi, who is said to have brought the style of Bernini to Padua. The chapel to the left of the choir has frescoed ceiling by Sebastiano Ricci, the only frescoing in the main church, with some nice trompe l'oeil effects.
Through the right-hand transept there is the Corridor of the Martyrs. Facing you before you turn left is The Blessed Giacoma discovers the Well of the Martyrs. Turning left you enter the corridor where access to the subterranean passages containing the relics, amongst them bits of Sts Luke and Matthew, is gained through a trap-door to the right. You then come to the Sacellum di Santa Maria e San Prosdocimo (see two photos below right) all that remains of the original basilica.
Here is the grave Saint Prosdocimus, the first bishop of Padua in the 4th century, when the church was founded.

Lost art
The Saint Luke Polyptych, an early Mantegna, painted in 1455 for the chapel of San Luca (the left transept) here, is now in the Brera, Milan. It's big and special and you can get up close and fully appreciate.
Girolamo Romanino's very Venetian Madonna Enthroned with Saints Benedict, Justina, Prosdocimo and Scholastica (see right) is now in the Musei Civici.
The Martyrdom of Saint Giustina
of 1556 by Paolo Veronese, which hung here over the Abbot’s private altar in his study. Transferred to the museum in about 1842. Also by Veronese is a Crucifixion, painted on paragone, a dark stone, now in the Museo Civico.

Benedetto Bordon (c.1455-1530) was commissioned in 1523 to decorate an Evangeliary (Gospel Book) and an Epistles for the monastery here. These are the manuscripts in the Chester Beatty Library in Dublin and the British Library respectively.

The lower part is the original tower. By 1599 the church had grown such that the bells could not be heard, it is said, so the height was doubled.

Buried here
Elena Cornaro Piscopia, the celebrated scholar and the first woman to receive a university degree, was buried here in 1684. She eventually earned a philosophy doctorate. Her first choice of subject had been theology but Gregorio Cardinal Barbarigo, the Bishop of Padua, had forbidden this course as she was a woman.

Opening times
Monday-Saturday 7.30 - 12.00 &  3.00 - 8.00
Sunday and Bank Hols 6.30-1.00 & 3.00-8.00

Monday - Saturday 8.00 - 12.00 & 3.00-5.00
Sunday and Bank Hols 8.00 - 1.00 & 3.00 - 8.00

A 1766 project for the facade of Santa Giustina by Francesco Maria Preti. 
















Santa Lucia

Rebuilt in the 18th Century.

Has a painting of St Luke as a painter, attributed to Giambattista Tiepolo.

Lost art
Benedetto Diana's Virgin and Child with Saints, now in the Accademia in Venice.

Scuola di San Rocco
next door, has a Renaissance façade and 16th Century Titianesque frescoes inside.
Opening times
Tues-Sun 9.30-12.30, 3.30-7.00
tickets: full price € 3.00, reduced € 2:00


Santa Margharita


Built over an ancient oratory c.1748. The architect was the Venetian Thomas Temanza, more famous for Venice cylindrical church of Santa Maria Maddalena (where he is buried) and San Servolo. Here he provided Padua with an early example of a neo-classical façade.

Small, box-like and serene, with a pair of side altars topped by altarpieces by Venetian painters - San Francesco di Paola by Giuseppe Nogari (a pupil of Antonio Balestra) and The Flight into Egypt by Francesco Polazzo, each flanked by life size sculpted figures of the four evangelists by Bonazza. The large ceiling panel is The Apotheosis of Saint Margaret by Giorgio Anselmi, an artist from Verona.

Continuing the Venetian rococo roll of honour, the high altarpiece is The Glory of Saint Margaret by Francesco Zugno, a pupil of Giambattista Tiepolo. To the left here is The Martyrdom of Saint Margaret by A Urbani, to the right is The Sentencing of Saint Margaret by Francesco Fontebasso.

Opened by volunteers from Salvalarte, who don't have a website but are a branch of Legambiente.



Santa Maria dei Servi

Built from 1372, financed by Fino Buzzaccarini, the wife of Francesco I Carrara. The church was built on the site of the house of Nicolò da Carrara, which was demolished. Nicolò was the banished step-brother of Francesco I and the story goes that Fina, a very pious woman, chose to build on this site to punish him for his betrayal of Francesco. Or it may have been to celebrate the marriage of her daughter. When Fina died in 1378 responsibility for completing the church passed t0 her sister Anna, the Abbess of the Convent of St. Benedict.  In 1393 Fina's son Francesco Novello, who had succeeded his father, entrusted the church to the Servites, which was when it acquired its current name.
The Renaissance portico along the left side of the church was added in 1511 by Bartolomeo Campolongo, using 10 red marble octagonal columns from the demolition of the 14th Century Chapel of the Ark in the church of St. Anthony.
The church was part of a complex that included the convent of the Servites, the Oratory of St. Homobonus and the Oratory of the Guild of St. Mary of the Servites.
Confiscated in 1806, the government only returned the church to ecclesiastical authorities in 1963, 157 years later, as a plaque in the church records.

Aisleless with white walls, a wooden corbelled roof and some unspecial monuments to worthies and poorly-preserved 14th-16th Century frescos spaced around. The 16th Century fresco of the Virgin and Child with Saints on the back wall to the right is by Girolama del Santo and looks to have suffered some ill-advised touching up.
The dominant feature is the very Baroque Altar of Our Lady of Sorrows which faces you as you enter the side door (see photo right). It is by Giovanni Bonazza from 1703-10 and houses a statue of The Madonna from the late 14th Century  by Rinaldo di Francia. It was previously erroneously attributed to Donatello. There's a polygonal apse with two square side chapels.

Art highlights
Not much: a small 'Scuola di Mantagna' Pieta fresco contained in a tabernacle to the right of the baroque altar, often said to be by Jacopo da Montagnana, a Paduan painter who Vasari said studied with Bellini, but whose work looks more influenced by Mantagna.
Also a 'Donatello' Crucifix in the left hand apsidal chapel, currently (March 2014) away being restored. The church says that it's by Donatello, but other sources say that it's by an unknown artist inspired by Donatello. It is venerated, though, because in 1512 blood is said to have seeped from the face and side of the statue.




Santa Maria del Carmine
I Carmini

The Carmelites were established around here, an area dominated by mills,  in the later 13th C
entury and work on the first church here began in 1309. The original church had a single nave, a ship's-keel wooden roof and six chapels.

In 1491 heavy snow and an earthquake caused the roof to collapse. Lorenzo da Bologna and Pietro Antonio degli Abati were employed to rebuild. The church was completed in 1523 by Biagio Biagio, the work retaining much of the original structure, with renaissance embellishments. (It is said that Lorenzo's dome is visible in Giorgione's Tempest.) Further damage, from an earthquake in 1695 (following which the roof was replaced and the façade, and main door were completed) and from fire following a firework display celebrating the new pope in 1800. Also bomb damage in 1917 and 1944, the church being close to the railway station.

Big, tall and aisleless, barrel-vaulted with six substantial chapels down each side, variously (mostly baroquely) filled. Fresco roundels, mostly, in the spandrels on the wall between them and square oil-painted panels above. A huge triumphal arch over the high altar at the end of a deep choir which has a large frescoed cupola above on a shallow drum, with a deep lunette arch over the arch. The choir area is covered in frescos of pre-raphaelite appearance. No transept. The painted altarpieces inside the chapels, and the panels elsewhere, are mostly 17th century and not special. Many are by Bissoni and Varotari  (aka Il Padovanino). The last altar on the right containing what is said to be one of the best by the latter: Christ with Zebedee's Mother, originally from church of San Giacomo.

Lost art
The Lazara polyptych (see right) by Francesco Squarcione, Mantegna's master, is now in the Padua Museo Civico.

Opening times




Scuola del Carmine
Contains a cycle of frescoes from the 16th century by Giulio and Domenico Campagnola, Girolamo Tessari and Stefano dall'Arzare. Following Napoleonic suppression the scuola became the parish baptistery and then a warehouse and storeroom. Following restoration it was opened to the public. The altarpiece here, a Madonna and Child, was formerly attributed to Titian but is now thought to be the work of Girolamo del Santo (a.k.a. Girolamo Tessari) the painter also responsible for seven of the fourteen fresco panels here.

The story, from Joachim Sent from the Temple to The Assumption, runs anti-clockwise from left of the altar. The left hand nave walls are the work of Giulio Campagnola 1505-7, (the first panel actually by his adopted son Domenico, a pupil of Titian). The right hand side of the nave and around the altar is work by Girolamo del Santo. The back wall's marvellously incorporated Nativity, Adoration of the Kings and the little Presentation at the Temple are by Stefano dell'Arzere, 1560. 

The stylistic transition from Giulio Campagnola to his son and Girolamo del Santo here supposedly illustrates the change in dominant influence from Mantegna to Titian, with Stefano dell'Arzere's work said to show the movement towards to mannerism.

Opening times

Tues and Thurs

Tues and Thurs


Santa Maria del Torresino

So named because of its central crenellated tower. Also known as Santa Maria del Pianto. Built 1726 by Count Frigimelica to house a miraculous Madonna. A guidebook of 1910 by Cesare Foligno says 'Its sole interest lies in its entire independence of all architectural rules'



Santa Maria della Carità
(Scrovegni Chapel)

A small chapel dedicated to Santa Maria Annunziata stood here originally, and from 1278 an annual festival celebrating the Annunciation was held here. The rebuilt chapel was dedicated to Santa Maria della Carità at the Feast of the Annunciation in 1303, and consecrated on 25th March 1305, the chapel is also known as the Arena Chapel and the Scrovegni Chapel because it was built on land purchased by banker Enrico Scrovegni previously the site of a Roman arena of a size and appearance to match the arena in Verona. The chapel was built next to a palace bought from the Dalesmanini family in 1300, being built by Scrovegni as a family oratory, but it was also used for public services during the Feast of the Annunciation. The palace later passed to the Foscari family and was demolished in 1827, the chapel having also been slated for demolition two years later. Giotto, the artist responsible for the chapel's frescoes, was an architect as well and it has recently been argued that he may have designed the chapel too. But it is also argued that the architect was Fra Giovanni Eremitano, who lived in the neighbouring Eremitani and is said to be the monk holding the model of the chapel with Enrico Scrovegni in Giotto's fresco of The Last Judgement on the entrance wall.

Enrico Scrovegni's fortune was derived from money lending, and usury was at the time though to be a sin so grave as to exclude those guilty of it from the benefit of Christian sacraments. There is a widely held belief that Enrico built the chapel in penitence for his father's sin of usury. His father, Reginaldo degli Scrovegni, was one of the usurers mentioned in the Inferno - his arms (a blue sow on a white field) were placed in the Seventh Circle of Hell by Dante. (Dante and Giotto are said to have been friends, with Dante staying in Giotto's house.) Enrico's own tomb is in the apse. He died in exile in Venice in 1336, having been the victim of unscrupulous enemies, like Marsilio da Carrara, and having fled Padua.

A rectangular barrel-vaulted nave six tall windows along the right-hand side and a small chancel with a pair of side altars. Seemingly built for decoration with frescoes, possibly on Giotto's advice, with a lack of architectural embellishment and windows facing south-east. Giotto's frescoes here, painted c.1303-5, are unarguably his best work, and the best preserved. They are also one of the uncontested milestones of the formative years of the renaissance, although this had only really been accepted universally since the 20th Century, as the quote below from Ruskin illustrates. Their centuries of neglect were  halted in 2002, when the chapel reopened after restoration. The series depicting the life of the Virgin begins at the top left of the right-hand wall. By the time the series reaches the left hand wall it's into the life of Jesus.

Ruskin said

The drawing of Giotto is, of course, exceedingly faulty. His knowledge of the human figure is deficient.

A mid-18th century watercolour by Marino Urbani showing the chapel (centre) when it was attached to the Scrovegni family palazzo, then known as the Palazzo Foscari.

Opening times
Monday to Sunday 9.00 - 7.00
Pre-booking is essential

You wait in an air-conditioned waiting-room watching a video for 15 minutes (to 'stabilise the interior microclimate') then enter the Chapel for a 15 minutes, so visits last about 30 minutes.




Santa Maria in Vanzo


Santa Maria Vergine
Porte Contarine

Built in 1436 at the expense of Domenico Campolongo, a Paduan nobleman, and enlarged in 1525.

In the refectory here, a large Crucifixion by Michele da Verona dated 28th March 1505, itself a smaller version of a work of 1501 in San Giorgio in Braida in Verona, both commissioned by the Secular Canons of the Blessed Lorenzo Giustiniani.

Impressive frescoes by Domenico Campagnola, a Paduan pupil of Titian.

Two? paintings by Bartolomeo Montagna, one being the Virgin and Child with Saints and Angel Musicians over the high altar.

An Entombment, signed by Jacopo Bassano and dated 1574 on the stone, bottom centre, over the last altar on the left wall.

Built in 1723, by Comini family, but probably with worker participation, perhaps local boatmen.

The church
The sober body of the church contrasts quite a bit with the (rare in Padua) rococo tower. Restored with funds from the Lion Club in 1968, as the plaque on the wall by the door tells us.


Santa Sofia

Various traditions have it that this is the site of the oldest church in Padua, built by St Prosdocimus himself, or that it was founded in the 8th or 9th Century, on the site of a temple to Mithras, and that it was the original cathedral of Padua.  It was crumbling in 1106, though, and the current church was built as a consequence of an earthquake in 1117, having been completed in 1127 with a Romanesque facade but retaining the earlier church's apse. 14th Century Gothic additions too, and much restoration, including the removal of a church 'leaning on it' in the 1950s.

Pale brick, plain with nave and two aisles separated by pillars, columns on pillars, and two columns - they vary much but match across the nave. A groin-vaulted ceiling of the 14th Century, with decorated ribs and arches. Two side altars each side. The deep apse has an ambulatory which narrows to nothing at the back. A burst of fresco in the vaults over the left-hand aisle of the ambulatory. Some 13th/14th century anonymous frescoes and traces, including a 14th century lunette of the Madonna and Child with Saints and Donors over the apse.

Lost art
A very early altarpiece, said to have been his first commission, painted for this church in 1448 by Mantegna. Now lost.

Opening times
Mon/Tues 9.30-11.30, 16.00-19.30
Weds-Sat  7.30-11.30, 16.00-19.30
Sunday and feast days 9.00-12.30, 18.00-20.00




Santi Firmo e Rustico



Santi Massimo e Osvaldo

Built on the site of a large burial ground, it is said, the church here became a parish church in 1308. San Massimo was the second bishop of Padua. The small medieval church underwent rebuilding in the 16th and 17th centuries, due to the popularity of the are for patrician family houses and to a charismatic parish priest, Father Giuseppe Cogolo, to who commissioned paintings by Giovanbattista Tiepolo between 1742 and 1745. Parish church status was lost during the Napoleonic suppressions and the church was closed to worship. During World War II it suffered bomb damage. It reopened as a university chapel after a major restoration in the 1990s, although it suffered much loss of fittings during its years of closure.

Three altarpieces by Giambattista Tiepolo - St John the Baptist, The Flight into Egypt and the titular saints. Also the tomb of the famous physician Giovan Battista Morgagni.


Mystery church in
via Suor Elisabetta Vendramini
Saint Joseph?

Mystery church in
via Luigi Configliachi












Mystery church
in Corso Vittorio Emanuele II
Santo Rosario Madonna della Salute?



Founded in 1226 by Dominicans on the west bank of the Bacchiglione. Demolished by the Austrians in 1829.  The tombs of Jacopo II da Carrara and Ubertino da Carrara (now in the Eremitani) were originally sited in the chancel here.



Benedictine church and convent seized and demolished during siege  c1320

North of the town is the Sanctuary dell'Arcella, a Gothic Revival church, completed in 1931,to designs by Eugenio Maestri, built on the site of a hospice, run by Clarissan nuns, which had been established by Saint Francis of Assisi himself in 1227. At this time the hospice was some distance outside the city walls. It was here that Saint Anthony died on the evening of June 13, 1231.  Still run by Conventual Franciscans, and now a parish church.



Church and Monastery of the Capuchin Friars aka The Sanctuary of Saint Leopold Mandic, which houses the remains and the confessional cell of the beloved Dalmatian Capuchin saint who died in 1942 and was canonised in 1983. The church is in the centre, to the right of the portico is the Capuchin monastery and to the left the saint's confessional cell. They were rebuilt from 1945 to 1948, following the destruction of the original buildings during a 1944 air raid. Except the saint's cell which was miraculously undamaged, as predicted by him, it is said. His remains were moved from the town cemetery to a funeral chapel beside his confessional. The relic of his right (blessing) hand is displayed in a niche by his tomb.




Jacopo Bellini was commissioned in 1430 to paint a fresco of the Archangel Michael for the church of San Michele in Padua.


Cannaregio :: Castello :: Dorsoduro :: Giudecca :: San Marco :: San Polo :: Santa Croce :: The Islands :: Demolished