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Sant'Antonio The Santo
Santa Caterina
Santa Croce
Santa Giustina
Santa Lucia and the Scuola di San Rocco
Santa Margharita
Santa Maria dei Colombini
Santa Maria dei Servi
Santa Maria del Carmine I Carmini
Santa Maria del Torresino Santa Maria del Pianto
Santa Maria della CaritÓ The Scrovegni Chapel
Santa Maria delle Grazie
Santa Maria in Vanzo
Santa Maria Vergine
Santa Sofia
Santi Fermo e Rustico
Santi Massimo e Osvaldo


il Santo
Piazza del Santo

this church now has its own page
Santa Caterina
Via Cesare Battisti

A church was here by 1144, dedicated to Saint Catherine of Alexandria. As early as 1623 Augustinian nuns
from the monastery of Santa Maria Maddalena took over the church and built a convent buildings. Rebuilding took place at the end of  the 17th century. The children of Galileo Galilei were baptised here, and the church ontains the tombs of the violinist and composer Giuseppe Tartini and his wife to the right of the baroque high altar.
Following Napoleonic suppression the church lost its parish function and the Augustinian nuns were expelled. The monastery became an orphanage, amongst other uses, and the church became a subsidiary in the parish of Santa Sofia and later closed.
After considerable restoration wotk the church and convent are now used by Padua University. The church is sometimes used for concerts, thanks to the Tartini connection.

A small aisleless space with two ornate marble side-altars each side. The high altar has an altarpiece depicting the Mystic Marriage of Saint Catherine by Marcantonio Bonaccorsi. On the side walls flanking the high altar there are early-13th-century fresco fragments.
Over the second altar on the right is an altarpiece of Saints Sebastian, Roch and Charles by Pietro Damini, said to be the the artist's final work, completed during the plague of 1630, which led to his death. It was brought here in the mid-19th century from the church of San Biagio, then being demolished. Opposite is a Holy Family attributed to Claudio Ridolfi.
Elsewhere a niche contains an 18th-century processional statue of Saint Catherine. Over the 17th-century confessionals there is a 17th-century lunette Supper at Emmaus and an Annunciation by Bartolomeo Moro dated 1718, which features a portrait of the commissioning parish priest. To the left of the entrance once stood the baptismal font in which the children of Galileo Galilei were baptized, which is now in the church of Santa Sofia.

Odd claim
A 1780 guidebook to Padua by Giovambattista Rossetti says that the earth under this church is "reddish in colour" and "preserves the corpses, which are buried there, uncorrupted and intact".

Interior photo from Wikipedia by UrbisPatavii

Santa Croce
Corso Vittorio Emanuele

A chapel on the site, next to a leper hospital, is documented in 1181. It became a parish church in 1308, and in 1606passed to the Somascan Fathers, who established a school here. The present Rococo church was built to plans by a lay brother of the order called Francesco Vecelli with work beginning in 1737 and completed in 1749. The fašade was designed by the Paduan architect Girolamo Frigimelica. With the Napoleonic suppressions the Somaschi were expelled and the church passed to secular clergy.

Aisleless with two shallow chapels each side, the first two at the back with painted altarpieces by Mariotto - has has four works in here, including a panel on the wall of the apse. Two chapels have statues - a Virgin and a Crucifix. The deep apse-ended choir rather concentrates the lighter baroqueness of the rest of the church. The central ceiling panel is by Nicol˛ Baldassini and shows the Exaltation of the Cross. Baldassini also frescoed the cupola.

The Oratory
Through a door on the right you enter the Cappella della Madonna della Neve and an oratory called the Sala del Redentore. The oratory dates to the 15th century and was the home of the former Confraternity of the Corpo di Cristo di Santa Croce. In 1810 the oratory passed to the parish and over the years has seen use as a storage room, a theatre, an army meeting hall in 1917, a band room, a cinema and a furniture workshop. Only in 1976 did it see restoration work, followed in 1995 by the restoration of the frescoes.

Built in 1907.

Opening times
Daily 7.00-12.00 & 3.00-6.00
The Oratory can be seen on  guided tours in May, June, September, and October on Tuesday afternoons from 4.00 to 6.00, and Thursday mornings from 10.00 to 12.00

Santa Giustina
Prato della Valle

this church now has its own page

Santa Lucia
and the Scuola di San Rocco
Via Santa Lucia

A church was on this site in the 10th century, it is said, but the current church dates to Baroque rebuilding in the 18th century.


A not very long - almost square - nave, with an altar and two confessionals each side, a square choir, stone saints in niches and long canvases in the choir of the Resurrection and ?Saint Lucy.
A painting of Saint Luke as a painter, attributed to Giambattista Tiepolo, is reported to be here, but was not to be seen on my visit.

Lost art
Benedetto Diana's Virgin and Child Enthroned with Saints Jerome, Benedict, Justina, and Mary Magdalene (see below), now in the Accademia in Venice, acquired, following the Napoleonic Suppression, in 1812.
A carved lunette of the Virgin and Child by the studio of Pietro Lombardo is in the Eremitani Civic Museum.


Scuola di San Rocco
Next door to Santa Lucia, built from 1525 to 1542 on the site of a building bought for the Confraternity of Saint Roch in 1476. Acquired by the City of Padua in 1925 and restored 1926-29. More restoration work in 1950, when the frescoes on the right wall, more damaged than those on the left, where detached, cleaned and returned. More work in the 1960s, 1970s and 1993.

entury frescoes cover all four walls of the meeting hall on the ground floor (see right). A monochrome freeze below the ceiling is supported by false columns which divide the walls frescoed panels - two flanking the altar, two on the entrance wall, and five on each side wall. These show scenes from the life of Saint Roch, beginning to the right of the altar. The first The Parents of Saint Roch in Prayer, is by Domenico Campagnola. The Birth of Saint Roch follows, by Girolamo Tessari (called 'dal Santo') . The next two are The Death of the Father of Saint Roch and The Distribution of His Worldly Goods by Saint Roch. These two are by Domenico Campagnola, with help from Gualtiero Padovano. The rest are by Gualtiero Padovano on his own, except the last, The Funeral of Saint Roch, which is by Stefano dall'Azare, another painter from the workshop of Campagnola. Gualtiero's Saint Roch is Taken to Prison (see right) cunningly incorporates the real side window of the oratory into the fresco.
Over the altar is an altarpiece depicting the Virgin and Saints Roch and Lucy, by Alessandro Maganza from 1697. The same two saints also appearing in the spandrels above.
The upstairs hall is also partly frescoed - decoration began in 1559 - and has a large stucco altar frontal by Tiziano Minio showing Saint Roch and Two Saints.

Opening times
Tues-Sun 9.30-12.30, 3.30-7.00
Tickets: full price Ç 3.00, reductions Ç 2:00


Santa Margharita
Via San Francesco


Santa Maria dei Colombini
Via dei Papafava

Built over an ancient oratory c.1748. The architect was the Venetian Thomas Temanza, more famous for Venice's 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 fašade.

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.

Opening times
Tuesday - Saturday 10.00-12.00 & 4.00-6.00 (May - October 4.30-6.30)
Opened by volunteers from Salvalarte, who don't have a website but are a branch of Legambiente.
September 2017 update Not open when I visited at times when it should've been.

A church here dates to the 14th century, where it is said that the Colombini met, they being a group of penitents devoted to Saint Anthony of Padua who formed a confraternity. They were suppressed by Napoleon and with the oratory set for demolition it was acquired in 1810 by Conti Alessandro and Francesco Papafava de 'Carraresi, which resulted in the building as it appears now, with works of 1817.

Reopened to the public in June 2017 by the Archconfraternity of Saint Anthony of Padua, details here.

Santa Maria dei Servi
Vicolo dei Servi

Built from 1372, financed by Fina Buzzacarini, the wife of Francesco I da Carrara, who also commissioned  Giusto de' Menabuoi to decorate the Baptistery of the Duomo as a mausoleum for the couple. The church was built on the site of the house of Niccol˛ da Carrara, which was demolished. Niccol˛ was the traitorous grandfather 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. Or it may have been to celebrate the marriage of one of her daughters. When Fina died in 1378 responsibility for completing the church passed t0 her sister Anna, the abbess of the San Bernadetto.  In 1392 Fina's son Francesco Novello, who had succeeded his father as duke, gave 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 ten red marble octagonal columns from the demolition of the original 14th-century chapel of Saint Anthony in the Santo.
The church was part of a complex that included the convent of the Servites, the Oratory of Saint Homobonus and the Oratory of the Guild of Saint 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 and quite tall with white walls, a wooden corbelled roof and some unspecial monuments to worthies and a nice variety of 14th-16th century fresco fragments spaced around. The 16th-century fresco of the Virgin and Child with Saints Roch Anthony Joachim and Anna on the back wall to the right is the most complete. It is now attributed to Dominico Campagnola (previously it was said to be by Girolama del Santo) and dated to the 1530s but looks to have suffered some inexpert touching up. The two frantic 17th century canvases above are by Matteo Ghidoni.
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 Virgin from the late 14th century by Rinaldo di Francia. It was previously erroneously attributed to Donatello. There's a small 'Scuola di Mantagna' Pieta fresco contained in a Lombardesque tabernacle to the right of the baroque altar, it was previously said to be by Jacopo da Montagnana, a Paduan painter who Vasari said studied with Bellini, but whose work indeed looks more influenced by Mantagna. It is now said to be by Pietro Calzetta (1430/40-1486) and is called The Man of Sorrows (Christo Passo) Between the Virgin and St John. There's also God the Father in the lunette above.
There's a polygonal apse with two square side chapels. Flanking the apse are canvases of Saint Andrew and Saint Peter by Palma Giovane.
In the chapel to the left of the apse is a Crucifix, recently restored. The church now says that it's by Donatello, other sources have said that it's by an unknown artist inspired by Donatello, but recent scholarship seems to go with the Donatello attribution, made during the decade he spent working at the Santo. The face looks very Donatello. It was painted to simulate bronze in the 19th century but restoration 2012-2015 restored the flesh tone. It is venerated, though, because in 1512 blood is said to have seeped from the face and side of the statue. Originally it stood on the tramezzo (rood screen) but was moved to its current position after the bleeding episode and
subsequent veneration. Frescos of The Passion in this chapel are barely visible and the sculpted surround is by Lorenzo Canella (1884-1956)

Lost art
An altarpiece showing the Virgin Misericordia, with the Child and Saints, by an anonymous Paduan artist of the late 15th century, is in the Eremitani Civic Museum




Santa Maria del Carmine
I Carmini
Piazza Francesco Petrarca

The Carmelites were established around here, an area dominated by mills,  in the later 13th c
entury and work on their church here began in 1309, on the site of an oratory built in 1212. 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 fašade, and main door were completed) and from fire following a firework display celebrating the new pope in 1800. Also bomb damage in 1917 by the Austrians (the dome was destroyed and rebuilt in 1931) and in 1944 by the Allies, the church being close to the railway station.

Another unfinished fašade, punctuated by holes where the scaffolding poles were inserted, called putlogs in English, because that was where they put the logs to support the scaffolding. The doorcase dates to 1412, with statues by Bonazza added in 1736/7.

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. 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 (the first and third on each side) and the panels elsewhere (large and square over each chapel and on the back wall) are mostly 17th century and not special. Many are by Bissoni and Varotari (aka Il Padovanino). The last altar on the right contains what is said to be one of the best by the latter: Christ with Zebedee's Mother, originally from church of San Giacomo. There are no labels on the art and no guidebook was available.

Lost art
The De Lazara Altarpiece of 1449-52 (see right) signed by Francesco Squarcione, Mantegna's master, is now in the Padua Museo Civico.

The church in art
This church can be seen. in the far distance, in the centre of Canaletto's The Porta Portello, Padua  of c.1741/2, now in the Washington National Gallery.

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 Virgin 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.

Scuola opening times
Summer - Tuesday and Thursday 10.00-6.00
Winter - Tuesday and Thursday 10.00-4.00


Santa Maria del Torresino
Madonna Addolorata al Torresino
Via Andrea Memmo

There was an oratory here adjacent to a torresino (turret) on fortifications. By the 1450s a fresco of the Virgin by Antonio dal Santo was performing miracles. The current church was built in 1718-1726 to designs by Gerolamo Frigimelica, and completed by Sante Bonato. The church is still called ôTorresinoö because of Frigimelica's odd central crenellated tower. 
The statues and the bas-relief of the Pieta on the fašade are by Francesco Bonazza.

In the narthex are statues depicting Faith and Religion by Tommaso Bonazza. Antonio Bonazza sculptedthe eight statues depicting Patience, Prudence, Virginity, Purity, Humility, Charity, Chastity, and Innocence.
The first altar on the right has a canvas of the Nativity by Giulio Cirello. The next along has Padua Thanks the Virgin for the End of the Plague in 1500, attributed toFrancesco Zanella, or Francesco Onorati. Two more 18th-century altarpieces depict the Nativity and the Birth of the Virgin by Guido-Ludovico de Vernansal.
The high altar has statues of Saint John the Evangelist and Mary Magdalene by Giovanni Bonazza. The high altarpiece is a wooden bas relief of the Pieta from 1940 by Amleto Sartori. A painting of the Crucifixion to the side of the high altar is by Giulio Cromer. The church also has French 18th-century Via Crucis canvases.

Santa Maria della CaritÓ
(Arena Chapel/Scrovegni Chapel)
Piazza Eremitani

this church now has its own page

Santa Maria delle Grazie
Via Luigi Configliachi

In 1512 Pope Leo X granted Observant Dominican friars permission to build a convent complex here, as their previous monastery in Bassanello had been destroyed during the Cambrai war of 1509 to make way for a new city wall.
The church here was built between 1531 and 1585 to designs by Lorenzo da Bologna and was considerably extended during work adding a  fašade in 1710. These works, involving designs by Giovanni Maria Falconetto, probably, went slowly due to a shortage of cash, and the church ended up less large and ambitious than intended.
The Observant Dominicans were suppressed in 1771 and in the following year the convent passed to the Zitelle Povere (Poor Spinsters), then the Ospedale dei Mendicanti. It was later annexed to the Orfanotrofi Riuniti. (Reunited Orphanages). Only the church remains and is currently owned by SPES (Servizi alla Persona Educativi and Sociali) as a restoration laboratory managed by the Veneto Institute for Cultural Heritage.

The fašade
Over the door is an oval window decorated with four cherubs, with above, in the attic story, a statue of the Virgin and Child by the workshop of Giovanni Bonazza, who are also responsible for the statues flanking the door depicting Saint Bonaventure and probably Pope Clement XIII.

A single nave with a lowered barrel vault and 18th-century polychrome marble altars. The paintings on the altars include a Nativity of the Virgin of 1590 attributed to Dario Varotari, and 17th/18th century works by Pietro Damini, Girolamo Brusaferro and Antonio Marini. Flanking the high altar there are marble statues of Saint Domenic and Saint Vincent Ferrer by Giovanni Bonazza.

Santa Maria in Vanzo
Via Seminario

Renaissance in style, 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 Enthroned, with Saints Peter, John the Baptist, Catherine, Paul and Angel Musicians (c.1512) over the high altar (see left) which was restored in 2002. It also has wings depicting Saints Lawrence and Francis.

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

A Sacra Conversazione by Antonio Vassilacchi, the Greek painter and pupil of Paolo Veronese, also known as L'Aliense (the alien) who worked mostly in Venice, especially in the Doge's Palace after the 1577 fire.

Santa Maria Vergine
Porte Contarine


Built in 1723, by the 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 campanile.
Restored with funds from the Lion Club in 1968, as the plaque on the wall by the door tells us.


Santa Sofia
Via Santa Sofia

Various traditions have it that this is the site of the oldest church in Padua, founded by Saint Prosdocimus, the first bishop of Padua, in the 4th century, or that it was founded in the 8th or 9th century, on the site of a temple to Mithras, or maybe Apollo, and that it was the original cathedral of Padua.  It was crumbling in 1106, though, and the current church is mentioned first in a document dated 9th February 1123 where Bishop Sinibaldo urges the speeding up of the building work, which had begun in 1109 and suffered delays following the earthquake of 1117. Work was completed in 1127 with a Romanesque facade but retaining the earlier church's apse parts of which were found, in the crypt, to date to the 9th century.  There were 14th century Gothic additions too, and much restoration, including the removal of a building which was 'leaning on it' in the 1950s. This major  work was to restore the church to its original appearance, removing mannerist and baroque decoration.  Until 1957 the church housed the relics of the Blessed Beatrice I Este (1578) and of the Blessed Elena Enselmini, the latter having been moved here from the church of the Blessed Elena in 1810.
Initially run by Augustinians monks, the church had passed to Benedictine nuns by 1517. In the 16th century it became a parish church. The nuns were expelled during the Napoleonic suppressions in 1806ľ1810 and the convent was acquired by the state. The church has recently returned to being a parish church governed by the secular clergy of the Diocese of Padua.

The fašade
A thing of  niches, blind arcades and hanging arches (it might remind you of Torcello) it dates to the early 12th century. Some niches have fragments of 14th-century frescoes. The mullioned window at the top is from the 20th-century restoration, the large oculus being 14th century and part of the work  instigated by Bishop Stephen from Carrara. .

Pale brick and plain, with a nave and two aisles separated by rows of 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 result of the major restoration in the 1950s which returned the building to its original appearance, removing 16th and 17th century accretions. The plastered roof dates from the late 14th century renovation work
A burst of fresco in the vaults over the left-hand aisle of the ambulatory. Some 13th/14th-century anonymous fresco fragments, including a 14th-century lunette of the Virgin and Child Enthroned with Saints and Donors over the apse (see photo below right). The deep early-medieval apse was restored in 1852 and has an ambulatory which narrows to nothing at the back.
A Vision of San Francesco di Paola by the Paduan artist Giovanni Battista Cromer (1665 - 1745) was restored in 2002. It sits over the altar dedicated to the Blessed Beatrice D'Este in the right-hand aisle. In the left aisle is an altar with a PietÓ by Egidio from Wiener Neustadt.

Romanesque/Gothic, dated 1296, adjacent to the apse.

Two notable baptisms and a funeral
The baptismal font here was used to baptize Livia and Gianvincenzo, offspring of Galileo Galilei. It was originally in the church of Santa Caterina.
Also here is the  tomb of the writer Ludovico Cortusio who in his will famously forbade his friends and relatives from weeping at his funeral, on pain of losing their inheritance, and promised that the one who laughed most would become his principal heir. He banned black drapes and stipulated flowers and greenery, music and minstrels to replace tolling bells. He ordered his bier, covered in bright fabrics, be carried by 12 young girls dressed in green and singing songs. He wanted all the town's monks to attend, except those whose robes were black. He died on 17th July 1418 and his wishes were carried out, giving the ceremony the appearance of a wedding rather than a funeral.

Lost art

An altarpiece, a Sacra Conversazione, painted for the high altar in this church in 1448 by Mantegna. It is said to have been his first commission and according to Vasari was painted when he was 17. Commissioned  by the Confraternity of St Anthony on behalf of a recently-deceased baker called Bartolomeo, it was dismembered in the 17th century and is 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 Fermo e Rustico
Via San Fermo

Tradition has a church here, maybe founded by the Veronese community, around the 9th or 10th century and dedicated to Saints Fermo and Rustico. It had been erected near the city walls, so that the campanile was used for defensive purposes.  The first documented mention of this church is dated 11th October 1111. It had a notable mosaic floor, reliably compared  to that of the San Marco in Venice, so probably 11th or 12th centuries. The parish church was declining in importance by the end of the 14th century, possibly due to the new nearby churches of San Paolo and especially Santa Maria del Carmine. Following a visit on January 22nd 1671 Cardinal Gregorio Barbarigo ordered the rebuilding of the church, calling it "dilapidated and close to ruin". The design for the new church, by Giacomo Cromer, changed the orientation with the apse now to the north. To speed up the work most of the walls of the old church were reused, with the new rectory where the old facade was.  The work was completed in 1673.
In the early twentieth century the rectory next to the church fašade was redesigned in Art Nouveau style by Gino Peressutti. The church fell out of use and was closed in the 1970s. Its furnishings went to Santa Maria del Carmine or the Episcopal Palace, the organ went missing and the 16th-century bells were sold to the parish of the Nativity of Mary in via Bronzetti. But since 2005 parts of the church, the campanile and the rectory, have undergone restoration, with two new bells donated by the Institute for the Support of the Clergy of the Diocese.
The old rectory, now offices and houses belonging to the Diocese of Padua, still has remains of the old  church, including the mosaic floor, and traces of a Roman domus and prehistoric stones.
The church awaits much-needed radical restoration and  is currently used for services by the local Sri Lankan Catholic community.

Almost square in plan and very baroque towards the high altar, which once housed an altarpiece by Francesco Onorati depicting Saints Fermo and Rustico, now the empty arch has a small Crucifix, probably 18th century. Two chapels on each nave wall with 16th and 18th-century baroque marble altars.

Lost art
On the first altar on the right there was a dying Christ sculpted in wood which is now in Santa Maria del Carmine. Altarpieces by Francesco Minorello (The Coronation of the Virgin with Saint John the Evangelist and Saint Francis), Pietro Marescalchi,  Bartolomeo Litterinian and an oval canvas depicting San Filippo Neri by Giambettino Cignaroli are now in the Episcopal collection.

Visible from over the river beyond the medieval walls. The once-defensive tower is connected to the nearby wall by a sentry box. The upper part, with lancet windows, a pitched roof and an octagonal drum, is 17th century.


Santi Massimo e Osvaldo
Via San Massimo

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 - Saint 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?

San Giuseppe?  Joseph church interior 2017 1080220/1

Mystery church in Corso Vittorio Emanuele II/Via Alberto Mario
Santo Rosario Madonna della Salute?



Benedictine church and convent seized and demolished during siege of 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 church and part of the monastery during an air raid on the 14th of May 1944. The saint's cell 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. Two panels by Lazzaro Bastiani depicting the Archangels Michael and Gabriel are said to be the organ doors from the church of San Michele.




Founded in 1226 by Dominicans on the west bank of the Bacchiglione River. A small oratory already on the site, dedicated to Santa Maria di Valverde served as a chapel initially. The new large brick church was consecrated in 1303. This church became something of a mausoleum for the Carrara lords and others from the local elite.
Twelve trachite columns separated the nave from the aisles, and there were nineteen altars, which would eventually be topped by altarpieces of the 16th/17th centuries. There was a Donatello Crucifix, a polychrome terracotta PietÓ by Giovanni Minello and works by Antonio Bonazza and Tommaso Allio.
Suppressed in 1806 and demolished by the Austrians in 1829. All that remains is one of the two cloisters - it became a barracks and looks ruined, but still in use. The refectory of the barracks evidently still has a fresco fragment of a Dead Christ with Two Angels attributed to Guariento.

Lost art

The tombs of Jacopo II da Carrara and Ubertino da Carrara by Andrioli di Santi (now in the Eremitani church) were originally sited in the presbytery here, along with the fresco of  Coronation of the Virgin with the two Carrara princes, by Guariento.
An Adoration of the Shepherds with a Donor by Stefano dell'Azare (see right) is now in the Eremitani Civic Museum. As is the Resurrection of Christ with Mary Magdalene and Saints Augustine, Dominic and Andrew by Domenico Campagnola, and studio.
The Deposition of Christ, with a separate figure of Carlotta of Lusignano, is a terracotta group made after 1483 by Giovanni de Fondulis. It was commissioned by Marietta of Patras, the Greek mistress of King John II of Cyprus, in memory of her granddaughter Carlotta of Lusigano, the illegitimate daughter of King James II of Cyprus. It was installed in the altar of San Salvatore, erected in 1483, in the left transept here. Carlotta's tomb was at the foot of this altar. It is now in the Isabella Stewart Gardner Museum in Boston.

Lost art
Ecce Homo with Angels, Saint George and Jerome and the Donor Battista Pozzo and his wife by Dario Varotari is in the Eremitani Civic Museum. P1080141

Santissima TrinitÓ
Destroyed in 1509 during the siege of Padua with the altar transferred to the church of San Giacomo in 1530.

Lost art

The Lamentation over the Dead Christ, a marble relief by Bartolommeo Bellano, a pupil of Donatello, from c.1470-5 (see right) was made for this church Following the destruction of the church in 1509, the relief was moved in 1530 to the church of San Giacomo and after that church was suppressed (between 1811 and 1817) into private hands. A Milanese dealer sold it to the V&A in London in 1878, where it remains.
Santo Stefano

Lost art
An odd Virgin and Child Enthroned with Four Saints attributed to Francesco Benaglio from c.1475 from the convent here has recently gone on display in the new 15th century rooms in the Accademia in Venice.
The Martyrdom of Saint Stephen
and The Adoration of the Magi by Pietro Damini in the Eremitani Civic Museum P1080144/P1080148


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