‪Basilica di Santa Giustina‬

חוות דעת על ‪Basilica di Santa Giustina‬, פאדובה

‪Basilica di Santa Giustina‬
4.5
‪כנסיות וקתדרלות‬
מידע נוסף
‪08:00 - 12:00‬, ‪15:00 - 20:00‬
‪Monday‬
08:00 - 12:00
15:00 - 20:00
‪Tuesday‬
08:00 - 12:00
15:00 - 20:00
‪Wednesday‬
08:00 - 12:00
15:00 - 20:00
‪Thursday‬
08:00 - 12:00
15:00 - 20:00
‪Friday‬
08:00 - 12:00
15:00 - 20:00
‪Saturday‬
08:00 - 12:00
15:00 - 20:00
‪Sunday‬
08:00 - 13:00
15:00 - 20:00
‪What people are saying‬
Brun066
מאת Brun066
‪"Architect Moroni inherited a 'Venetian' church and tried to transform it 'Roman-style'"‬
‪יוני 2021‬
‪There are many reasons for the interest of this church, one of the largest in Christianity. Among other things, we mention the presence in it of the alleged remains of the evangelist St. Luke, which would have arrived here from Constantinople in an unspecified period and would have been identified in 1177 in the basilica's cemetery; or the possibility of accessing the venerable "Sacello [chapel] di San Prosdocimo", the only significant remnant of the first basilica (6th century), with its "pergula" (architectural structure dividing the choir from the nave) in Greek marble, one of the few survivors. But here I would like to dwell in particular on some events of the reconstruction of the church in the sixteenth century, in the forms in which we see it today; forms that deeply impressed (and even intrigued) me in my recent visit to the church. In the 15th century, the church was the pivot in the growing of the so-called "Cassinese Congregation", that is, an aggregation of Benedictine abbeys as a result of the reforming work of the order led by the Venetian abbot Ludovico Barbo (1381-1443). This aggregation begins right from the Santa Giustina Abbey. The congregation, after many adhesions of abbeys throughout Italy, assumed this name following the adhesion of the same Abbey of Montecassino, the first of the Benedictine order (529 AD). The central role of Santa Giustina in this reforming work explains why so much energy went into the sixteenth-century reconstruction of this church. Reconstruction in which a central role belongs to the architect Andrea Moroni (1500-1560), not one of the best known architects in 16th century Italy, but who probably created his greatest work here. Let's examine the originality of the architectural solutions adopted here by Moroni with some textual expressions used by the historian Guido Beltramini in the "Andrea Moroni" entry of the "Dizionario biografico degli italiani" (Biographical Dictionary of Italians). Beltramini writes: in the nave of Santa Giustina Moroni "gave up building the minor pillars, covering the side aisles with powerful barrel vaults, placed orthogonally to the longitudinal axis of the nave. They acted as a counterweight to the basins that covered the spans of the central nave, creating a system of collaborating vaults. The result was a grandiose unitary space, which looked, in an unprecedented way for the Veneto region, to the great ancient Roman buildings ”. And again: after all, "Moroni inherited a 'Venetian' church in the conception of Da Valle [the previous architect, ed], and tried to transform it into a 'Roman-style' space, as much as his own culture and constraints allowed him . He didn't succeed completely, but certainly the charm of S. Giustina is precisely in being an organism in transformation, poised between the two worlds ". In this final sentence by Beltramini, I discovered the reason why the interior of this church fascinated me so much.‬

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Mel R
‪4 contributions‬
חברים • מאי 2022
‪We got a tour from one of the volunteer guides, Giorgio, and it brought this basilica to life. The inside looks austere, but this because it is a monastic Renaissance church that emphasizes the altar, where the martyr Giustina is buried. The domes have with special acoustic construction to reduce reverberation. The remains of St. Luke the Evangelist are interred in the left nave and relics of St. Mark in the right. The carved wooden choir is one of the most intricate I have ever seen and the designs are unique to each chair, with three levels of theological significance. You can also see artifacts from the church's beginnings, dating from the 4th century. Plus, the basilica is located in the most beautiful plaza in Padua. A must see during your trip or pilgrimage! ‬
‪Written 12 במאי 2022‬
‪This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.‬

Brun066
פירנצה, איטליה‪10,925 contributions‬
יוני 2021
‪There are many reasons for the interest of this church, one of the largest in Christianity. Among other things, we mention the presence in it of the alleged remains of the evangelist St. Luke, which would have arrived here from Constantinople in an unspecified period and would have been identified in 1177 in the basilica's cemetery; or the possibility of accessing the venerable "Sacello [chapel] di San Prosdocimo", the only significant remnant of the first basilica (6th century), with its "pergula" (architectural structure dividing the choir from the nave) in Greek marble, one of the few survivors.
But here I would like to dwell in particular on some events of the reconstruction of the church in the sixteenth century, in the forms in which we see it today; forms that deeply impressed (and even intrigued) me in my recent visit to the church.
In the 15th century, the church was the pivot in the growing of the so-called "Cassinese Congregation", that is, an aggregation of Benedictine abbeys as a result of the reforming work of the order led by the Venetian abbot Ludovico Barbo (1381-1443). This aggregation begins right from the Santa Giustina Abbey. The congregation, after many adhesions of abbeys throughout Italy, assumed this name following the adhesion of the same Abbey of Montecassino, the first of the Benedictine order (529 AD).
The central role of Santa Giustina in this reforming work explains why so much energy went into the sixteenth-century reconstruction of this church. Reconstruction in which a central role belongs to the architect Andrea Moroni (1500-1560), not one of the best known architects in 16th century Italy, but who probably created his greatest work here.
Let's examine the originality of the architectural solutions adopted here by Moroni with some textual expressions used by the historian Guido Beltramini in the "Andrea Moroni" entry of the "Dizionario biografico degli italiani" (Biographical Dictionary of Italians).
Beltramini writes: in the nave of Santa Giustina Moroni "gave up building the minor pillars, covering the side aisles with powerful barrel vaults, placed orthogonally to the longitudinal axis of the nave. They acted as a counterweight to the basins that covered the spans of the central nave, creating a system of collaborating vaults. The result was a grandiose unitary space, which looked, in an unprecedented way for the Veneto region, to the great ancient Roman buildings ”.
And again: after all, "Moroni inherited a 'Venetian' church in the conception of Da Valle [the previous architect, ed], and tried to transform it into a 'Roman-style' space, as much as his own culture and constraints allowed him . He didn't succeed completely, but certainly the charm of S. Giustina is precisely in being an organism in transformation, poised between the two worlds ".
In this final sentence by Beltramini, I discovered the reason why the interior of this church fascinated me so much.‬
‪Written 1 ביולי 2021‬
‪This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.‬

KW1975
צ'סטרפילד, UK‪207 contributions‬
ספט׳ 2020
‪We visited here on a day trip to Padua while staying in Venice for a week. While Padua itself was a little disappointing, this was a lovely place to visit.

We were lucky as we managed to go in just before they closed for mid-afternoon, but still managed to spend about half an hour inside, although could have spent longer.

Even though I am not religious, I have always appreciated religious architecture. They are some of the most stunningly beautiful buildngs. This basilica is definitely worth a visit, check times before arriving to ensure you have the time needed to really take everything in.‬
‪Written 11 באוקטובר 2020‬
‪This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.‬

periandro
לוקסמבורג סיטי, לוקסמבורג‪6,932 contributions‬
ספט׳ 2019
‪The Basilica of St. Giustina is a stunning church due both its size, the artistic beauty of the building itself and the sculptural and pictorial jewels existing inside. Both the grandiosity of the edifice and the large and full of light inner space are quite impressive and amazing. The Saint to whom that temple is dedicated, St. Giustina, was a sixteen year old girl who was sentenced to death by the emperor Massimiano on account of the single fact that she was a Christian.
At the beginning of the V century a basilica already existed on the grave of St. Giustina. Some years later Opilion, the prefect of the praetorium and patrician, had it reconstructed in a splendid manner, using for the decoration then implemented different kinds of marble and mosaic. It was the sole basilica in the whole cimetery. At the beginning of the XII century the Opilion Basilica collapsed as a consequence of a devastating earthquake. Although it was rebuilt by the monks who lived there, at the end of the 15th century a decision was made to tumble down the church and to reconstruct it. The pertinent works lasted for the first twenty years of the sixteenth century. Later on some artworks were placed in the temple, many of which were seized during the French Revolution and the napoleonic period.
Everything in that church is grandiose despite the soberness od the romanesque façade which, by the way, remains unfinished. The stout buttresses of the upper part building sides are stupendous as well as the impsing blind arches, the large circular gaps, the beautiful cornices and the three mighty pediments. The belfry tower is very attractive. It houses seven bells which, when ringing, may perform a magnificent and harmonious concert worth of being listened attentively. The domes from that church are impressive, especially the central one on the top of which there is a nice copper statue of St. Giustina. It's recommendable to watch them from a certain distance. At both sides of the steps leading to the portals there are two gryphons made of marble, one on each side. That one on the right looking at the façade is portrayed capturing a lion, what shows the strength of such fantastic creatures.
Upon entering into the church one is dazzled and captivated by the grandiosity and the luminosity of the interior. The pure renaissance architectural style is outstanding. It's a latin cross chuch with three aisles: a central nave and two side aisles, the latters separated from the nave by robust square pillars with ionic capitals supporting a barrel vault and eight domes. The floor is a very artistic one, consisting in manifold hexagonal units made up, each one of them, by three rhombus shaped parts, two of them made of respectively red and yellow Verona marble and the other of touchstone. The impression resulting from the sight of such a superb work is an authentic wonder. In the longitudinal spaces betwitxt the pillars there are some pieces of Greek marble originating from the Opilion basilica. In the middle of the nave under the first dome there is a splendid wooden crucifix from the XV century.
In nearly all the side chapels marvellous artworks can be observed, such as the painting “Conversion of St. Paul” by a painter belonging to the Paolo Veronese school (1589) which finds itself in the first chapel starting from the beginning of the right side aisle as one enters the temple, or the “Death of St. Scholastica” by Lucas Giordano, in the fourth chapel. Interesting is the urn located in the seventh chapel containing the relics of St. Urio, the Saint who, according to tradition, carried the corps of St. Luke and the picture of the Virgin from Costantinopolis to Padova, so saving them from destruction by the iconoclasts.
One can't avoid having an extraordinary and unusual feeling when entering the Martyrs' Corridor through the stone arch behind St. Matthew's altar (eight chapel). The corridor was built in 1564 and it's the only passage to go to the chapel os St. Prosdocimus from the Basilica. The hexagonal shaped well located in the center of the corridor containing the martyr's mortal remains is very aesthetic. It's embellished with chequered pattern decorations. Above the well there is a mighty dome with beautiful frescoes, a Giacomo Ceruti's work. Utterly dazzling is the painting at the end of the corridor “The rediscovery of the Martyr's well, with the miraculous lighting of twelve little candles” by Pietro Damini (1592 – 1631). Through the floor flap-door one can go down to the catacombs and to the room where the original Martyr's well stands. It's that already existing in the Opilion Basilica. Down there one feels overcome with emotion.
The Sacellum dedicated to the Virgin (commonly known as St. Prosdocimus chapel) is likewise spectacular. It was built by Opilion and it's the oldest Christian oratory in Padova. At its back there is the triangular pediment from the V or the VI century with the legend devoted to the Basilica and the Sacellum. On the right there is St. Prosdocimus altar with the marble sascophagus containing the Saint's corpse.
After St. Matthew's altar one can observe St. Maxim's chapel with a beautiful scupltural ensemble behind the altar in which the figure of St. Maxim and the putti are in a dominant position. It's a work by Michele Fabris. From that chapel, through the door on the left, one has access to the ancient chapter house and the Mass Corridor which are also worth visiting particularly because in the said chapter house there is Elene Lucrezia Cornaro Piscopia's tomb. She was a Benedictine oblate, the first woman in the world to have been qualified in Padova University. The Grand Corridor, into which it's possible to go from the Grand Corridor leads to the Old Corridor which is a nice part of the edifice, especially its apse.
Completely stunning is the ancient choir with vault décor from the XVI century, mainly the stalls carved in marquetry by Domenico da Piacenza and Francesco da Parma. In the middle of it there is a large chest where the choral books are kept, as well as the tomb of Luigi Barbo by an unknown sculptor from the XV century. On the right wall of the chancel there is a nice sculpture of St. Giustina and on the back wall behind the altar a magnificent wooden crucifix by an unknown author of the IX century can be contemplated.
In the sacristy there are also some beautiful works of art, such as a painting depicting St. Maurus saving St. Placidus who had fallen into the lake, and a Virgin with the Child made of terra cotta dating from the XV century.
In the tenth chapel the fabulous sculpture of a Pietà by Philippo Parodi is quite impressive. The presbitery and grand choir consists in a wonderful ensemble of works of art. At the sight thereof one is really flabbergasted before so much beauty. In it one can even see a bust of the patrician Opilion. On the magnificent marquetry stalls, between small columns with Corintian capitals there are little carved retables, everything being part of the same wooden structure. They depict scenes of the Ancient and New Testaments. Among them, that portraying the Flight to Egypt is outstanding. The high altar contains the corpse of St. Giustina. Both it and the renaissance altarpiece behind are worth being observed carefully due to its fantastic manufacture and aesthetic nature. In all the chapels one can always find something to admire. In the eleventh one it's possible to behold a precious baroque altar and in the thirteenth, St. Luke chapel, there is the fabulous altar-tomb of the Saint Evangelist carried out by a Venetian sculptor.
The three cloisters (the Chapter Cloister, the Noviciate Cloister and the Painted Cloister) are also wonderful and peaceful places. Both them and their outbuildings, such as the atrium of the refectory, annexed to the first of the mentioned cloisters, are superb spaces inviting to meditation and contemplation.
Taking all the foregoing into consideration, therefore, there isn't the least doubt that the visit to the Basilica is a must while in Padova. It's a jewel of the renaissance architecture housing multifarious treasures worth being watched with a great deal of attention and collectedness.‬
‪Written 26 במרץ 2020‬
‪This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.‬

mosesloh
סינגפור, סינגפור‪174 contributions‬
אפר׳ 2019
‪This is a must-visit for me if you are coming to Padua. I will even recommend this church over the Basilica of St. Anthony of Padua. You will be able to see many beautiful side chapels (too many to be named here), artwork and relics of Saints, most notably St. Luke (left side) and St. Matthias (right side). Under the High Altar is also the body of St. Justina of Padua, one of the patrons of the city.

Behind the Chapel of St. Matthias lies the Corridor of Martyrs, where you will find the Well of Martyrs and an old cage, which is believed to have transported the relics of St. Luke here.

One hour will be a reasonable time to spend here. I will also highly recommend attending the Conventual Mass if you have time. The chanting and singing by the monks are simply beautiful and touching. When I was there, they were chanting Vespers in the chapel, and I thought it was music being played on an audio recorder.‬
‪Written 8 בפברואר 2020‬
‪This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.‬

Brian M
אוקספורד, UK‪558 contributions‬
אוג׳ 2019
‪This is another large Basilica with a very empty interior so it is a disappointment when you go through the doors and enter a very large empty space. ‬
‪Written 8 בנובמבר 2019‬
‪This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.‬

betteskid
בוסטון, מסצ'וסטס‪928 contributions‬
אוק׳ 2019
‪This church, located near the Prato della Valle, is large and impressive for its size. The decorations are quite simple, even a bit austere. It is worth stopping if you are in the area and is a nice contrast to some of the more ornate churches that one sees in Italy.‬
‪Written 22 באוקטובר 2019‬
‪This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.‬

Cynthia F
פייר לון, ניו ג'רזי‪2,241 contributions‬
אוק׳ 2019
‪A very large church.

Do wander around the side chapels, some of which connect to other chapels and rooms. There are interesting things to see in those areas.‬
‪Written 13 באוקטובר 2019‬
‪This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.‬

Kateiel
‪Patterson‬, קליפורניה‪103 contributions‬
אוג׳ 2019
‪This is a lovely Basilica and definitely worth a visit. It is a short 5-10 min walk, depending on how slow you want to go, from the basilica di Sant'Antonio and a beautiful one at that. Inside you will find the tomb of St. Luke. It is a real treasure. In addition, it faces one "corner" of the Prato della Valle so you can take a pleasant stroll before or after. ‬
‪Written 22 בספטמבר 2019‬
‪This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.‬

545medva
בודפשט, הונגריה‪3,972 contributions‬
אוג׳ 2019
‪It is one of the largest church in Italy, definitely tha largest renaissance church. In opposite of other Italian churches it is very simple, no paintiongs or statues, it is very simple. On the step there are two statues of griffins from the 3. century.‬
‪Written 8 בספטמבר 2019‬
‪This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.‬

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