Introduction
The Tempio della Beata Vergine della Ghiara, also known as the Basilica della Madonna della Ghiara, is a prominent Catholic church and minor basilica located in Reggio Emilia, northern Italy. Situated along the historic Corso della Ghiara, now known as Corso Garibaldi, the temple is owned by the Municipality of Reggio Emilia. The church is officiated by the Catholic religious order of the Servants of Mary. Inside, it houses a valuable 18th-century organ, further enhancing its cultural and religious significance.
Origins
The site of the Tempio della Beata Vergine della Ghiara, originally part of the Crostolo riverbed, was known as Ghiara or Giarra after the river diverted its course outside the city walls in 1226, leaving behind a gravelly area. In 1313, the Community of Reggio Emilia granted this land to the Servants of Mary, who established a convent and a church dedicated to the Santissima Annunziata. In 1517, a larger church was built along the axis of the old riverbed, and the Servants had a depiction of the Madonna painted on the wall of the garden behind the apse. Over time, this image deteriorated, and in 1569, painter Lelio Orsi was commissioned to recreate it. Orsi’s reinterpretation led to a new design, which, in 1573, was submitted to Giovanni Bianchi, also known as Bertone, who was asked to repaint it on the convent’s wall. This new image attracted increasing attention, and a small chapel was built to house it.
The Miracle
On April 29, 1596, just twenty-three days after the inauguration of the Chapel-Oratory, a miraculous event occurred. A 15-year-old orphan named Marchino, who had been deaf, mute, and speechless since birth, visited the oratory of the Virgin. While praying, he felt a hot sweat running down his waist and exclaimed “Jesus-Mary” three times. Miraculously, he regained his hearing, speech, and even the ability to name all things around him. Marchino, who had served a butcher in the Vicinia di San Prospero, became widely known, and news of his healing spread quickly throughout the city.
Six days later, on May 5, 1596, another miracle occurred: a woman named Margherita, who had been suffering from a long illness for 18 years, was suddenly healed.
Following these events, Bishop Claudio Rangone formed a commission of theologians, doctors, and jurists to investigate the miracles. The findings were sent to Pope Clement VIII, who on July 22, 1596, approved the miracles and authorized the public veneration of the miraculous image, along with pilgrimages. A marble monument was later placed to mark the exact location of the image’s original site.
The Mannerist Sanctuary
The site quickly became a major pilgrimage destination, and thanks to the donations of the faithful, plans were made to build a new temple to house the miraculous image. Duke Alfonso II d’Este was approached to commission the design, and three proposals were submitted: one by Giovan Battista Aleotti of Argenta, one by Cosimo Pagliani of Siena, and one by Alessandro Balbi of Ferrara, which was ultimately approved by the Duke.
The foundation stone for the new temple was laid on June 6, 1597, by Bishop Claudio Rangone in the presence of Duke Alfonso and Duchess Margherita Gonzaga. The project involved demolishing the Servants’ church and part of the previous convent. The architect Francesco Pacchioni of Reggio Emilia was appointed to oversee the construction, with Cosimo Pugliani of Siena supervising the dome’s construction. By 1619, the church was largely complete, and on May 12, it was solemnly consecrated.
Restorations
The church underwent significant restorations between 1887 and 1890, overseen by Nicolò Barabino, Luigi Samoggia, and Gaetano Chierici. More recent restorations took place in the 1990s to preserve and maintain the building.
Architecture of Temple of the Blessed Virgin of Ghiara, Reggio Emilia, Italy
Architectural Style: Renaissance Architecture
Exterior
The temple is a grand quadrangular structure, with its facade facing east. A slender central dome, topped with a lantern, dominates the building, accompanied by an unfinished bell tower.
Facade
The facade features a tympanum and is divided into two levels. The lower section is adorned with Doric pilasters, while the upper part showcases Ionic pilasters. Constructed of brick, the facade is accented with white marble inserts on the bases, capitals, cornices, windows, and portals. It is divided into three sections, each with a portal surmounted by a Serlian window. Above the central portal, a marble bas-relief of the Virgin of the Ghiara, sculpted by Salvatore da Verona, was gifted by the Municipality of Reggio in 1642. The two side doors were completed earlier, in 1631.
Bell Tower
The 52-meter-high bell tower stands on the right side of the building near the apse. Built entirely of brick, it has a square base measuring 8 meters per side. Architect Francesco Pacchioni began its construction in 1623, designing it as a square tower with an octagonal belfry added in 1630. The tower was initially intended to be topped with a dome and lantern, but these elements were never completed.
A document from August 18, 1612, records the supply of 54 marble pieces for the tower. However, by June 1624, when the structure was nearly finished, it was determined that it could not support the weight of the marble, leading to the abandonment of the original design. Instead, the marble was repurposed for the basilica’s flooring.
The clock was installed in 1661, designed by Servite Father Cherubino Ranzani. Later, in September 1842, architects Luigi Croppi and Pietro Marchelli worked to reinforce the tower’s stability and added a concentric roof covering.
The bell tower houses a notable set of five bells, considered the finest in the diocese:
La Fornara – Donated by Reggio’s bakers, diameter 141 cm, weight 1624 kg (first half of the 17th century). Second bell – Diameter 113 cm, weight 850 kg (first half of the 17th century). Third bell – Diameter 93 cm, weight 530 kg (first half of the 17th century). Fourth bell – Diameter 77 cm, weight 325 kg (cast in 1785).
Interior
Designed on a Greek cross plan inscribed within a square, the structure features an apse projecting towards the western side. Inside, three naves are defined by massive pillars that support the central dome. At each of the four recessed corners of the cross, smaller square spaces house additional hemispherical domes, which remain hidden from the exterior view.
The interior is lavishly decorated in the Mannerist style, reflecting the transitional phase between the Renaissance and Baroque periods. While the lower part of the structure is relatively austere, the vaulted ceilings captivate with their opulent gilding, intricate stucco work, and an extensive cycle of frescoes painted by artists of the Carracci School. These frescoes depict stories from the Old Testament, with a particular focus on its female figures. The original thematic concept was later revised, and on February 21, 1615, the congregation overseeing the project officially approved the fresco cycle. The theologian responsible for conceiving the theme remains unknown, but the frescoes emphasize the glorification of biblical heroines, drawing parallels between their virtues and those of the Virgin Mary.
The ambitious pictorial cycle, completed between 1614 and 1648, involved numerous Emilian artists of the early 17th century, including Ludovico Carracci, Gian Francesco Barbieri (known as Guercino), Lionello Spada, Alessandro Tiarini, Luca Ferrari, Camillo Gavasetti, Carlo Bononi, Pietro Desani, Lorenzo Franchi, Jacopo Palma the Younger, Carlo Caliari (son of Veronese), Tommaso Sandrino, Sebastiano Vercellesi, Pietro Armani, Giovanni Savi, Francesco Burani, Giulio Cesare, Michele Mattei, and Orazio Talami.
The city’s trade guilds contributed valuable donations to the church’s adornment. The Wool and Silk Corporations commissioned the creation of the Holy Water Stoup, while the Municipality entrusted Guercino with the painting of The Crucifixion of Christ, now regarded as one of his masterpieces, which adorns the City Altar.
The Frescoes
The frescoed vaults and dome offer a compelling iconological narrative, structured in a chronological sequence across the four domed spaces adjacent to the arms of the Greek cross. These spaces depict the progression of time: the Time of Paganism, symbolized by the Sibyls; the Time of the Old Testament, represented by biblical Prophets; the Time of the Gospel, illustrated through the Four Evangelists; and the Time of the Church, featuring the Doctors of the Church. The four barrel vaults forming the arms of the cross emphasize Old Testament stories centered around female figures, including Adam and Eve in Paradise, Abraham serving the angels, Rebecca offering a drink to Abraham’s servant, Rachel at the well, Jael and Sisera, Abigail presenting gifts to David, Judith and Holofernes, Esther before Ahasuerus, Deborah and Barak, Samuel being offered to the priest by his mother, and Abishag attending the elderly King David.
The dome itself showcases the Apotheosis of Mary, a theme continued in the Sibyl’s Space, where the ceiling was masterfully painted in 1619 by Alessandro Tiarini, one of the most distinguished artists of the Carracci school. His frescoes, considered some of his finest works, adorn the pendentives with expressive portrayals of the Sibyls, described by Vidriani as “so witty that they seem alive.” The lower sections of the dome feature representations of the Virtues, while the upper sections depict eight Angels holding the instruments of Christ’s Passion. At the center, two angels are painted, one carrying the cross and inviting a half-veiled figure to venerate it.
In the left altar, designed by Giovanni Battista Magnani of Parma, stands the Virgin and Child with Saints Francis of Assisi, Lucia, Apollonia, and Agata, a work completed in 1854 by Alfonso Chierici. Previously, Lionello Spada had created a celebrated painting of Saint Francis of Assisi in Ecstasy, which was highly esteemed but later stolen in 1783; the artwork now resides in the Galleria Estense in Modena.
Eastern Arm
The eastern vault, located between the main door and the dome, was painted by Luca Ferrari, a disciple of Guido Reni, who was commissioned for the work in 1644. His frescoes were met with such enthusiasm that in 1646, the congregation entrusted him with decorating the southern arm as well. In the five sections of the first intercolumniation, he depicted Meekness, an angel holding shields, a fortified tower, an angel carrying armor, and Faith. The vault, aligned with the arches of the chapels, features three significant biblical scenes: Adam and Eve expelled from Paradise (on the left), Abraham serving the angels (center), and Rebecca offering a drink to Abraham’s servant (on the right). Additionally, the canvas paintings within the intercolumniation illustrate the Miracles of the Madonna, with contributions from Pietro Desani and Pietro Armani.
Space of the Major Prophets
The Dome of the Major Prophets, located in the Pagani Chapel near the right-side entrance, houses frescoes by Camillo Gavasetti, completed in 1630. The pendentives feature the Prophets Isaiah, Daniel, Ezekiel, and Jeremiah, while the larger compartments are adorned with the eight Virtues, and the smaller ones depict eight Angels paying homage to the Divinity at the dome’s center. The altar, a remarkable work by Nicola Sampolo, is enriched with marble and bronze, featuring statues of Religion and Prudence. A painting of the Virgin presenting the Child Jesus to Saint Francis, created by Alessandro Tiarini in 1629, is also housed within this space.
Additional Artistic Elements
Notable bronze statuettes, located in the lustral water basins beside the main door, include representations of Saint Prospero and the Immaculate Conception—the former crafted by the wool workers and the latter designed by Paolo Magnavacchi for the silk spinners. The counter-facade features a grand canvas depicting the Death of Saint John the Evangelist, a vast composition by Alessandro Tiarini. The Bursar’s Office corridor houses several significant paintings, including the Sorrowful Virgin holding her dead son, by Orazio Talami, The Annunciation, by Carlo Caliari (son of Veronese), and Saint Jerome contemplating the Trinity while writing, by Lorenzo Franchi. Within the administration office, several canvases from the Vicedomini-Vallisneri inheritance are displayed, including two exquisite portraits of the French school.
Finally, the tower, though bearing a damaged crown, rises above the former cloisters of the Servites, which were once used as an elementary school and now serve as a hostel.
Western Arm
The western vault, extending from the dome to the choir (Presbytery), was painted by Alessandro Tiarini, who was commissioned for the work in 1618 and later tasked in 1624 with completing the basin and vault of the transept. His frescoes depict Deborah and Barak on the left, Samuel being offered to the priest by his mother in the center, and Abishag serving the elderly King David on the right. The first band features various angels with symbolic attributes, while the second showcases King David seated with a harp on the left, the Archangel Michael driving out the devil with the banner of the cross in the center, and Solomon on his throne on the right.
The basin houses a grand fresco of the Assumption of the Virgin, where Mary is crowned by the Trinity, surrounded by angels, apostles, and saints. Though the fresco is of significant artistic merit, some critics argue that it also contains notable flaws, possibly due to Tiarini executing the work while recovering from illness. The left intercolumniation painting is by Sebastiano Vercellesi, while the opposite piece was created by Pietro Desani.
The high altar, crafted in 1672 by Carrara artists, was attributed by Don Luigi Bocconi to Giuseppe Maria Soli from Modena, contradicting earlier claims by Dr. D. Bertolini, who mistakenly credited it to Tarabusi. The organ gallery, which replaced an altarpiece installed nearly a century earlier by Abbot Giuseppe Ferrari Bonini in 1890, was designed by Luigi Samoggia. He was also responsible for the gilded panels, which, when poorly affixed to the pillars, disrupted the overall elegance of the structure.
Space of the Evangelists
The Dome of the Evangelists in this chapel was frescoed in 1642 by Pietro Desani, who depicted the four Evangelists in the pendentives, eight religious Orders in the lower compartments, and their respective Virtues in the upper ones, with Religion featured at the center. While the frescoes hold significant historical value, they are considered somewhat below the artist’s usual standard. It is said that Desani worked by torchlight, possibly rushing the project with the aid of a less skilled pupil, which may have affected the overall quality.
The chapel contains two altars. The one near the smaller door was created by Francesco Orso and Giacomo Novo, with a painting of the Virgin Annunciate by the angel, attributed to Alessandro Tiarini. The other altar, designed by Nicola Sampòlo, features sculptures of Faith, Charity, and Hope. The altarpiece depicting Saint Jerome, Saint John the Baptist, and the Madonna of Loreto is often attributed to Lionello Spada and Sebastiano Vercellesi. Some suggest they collaborated on the piece, but the depiction of Saint Jerome strongly reflects the distinctive style of Spada.
Northern Arm
The northern vault, extending from the dome to the Altar of the Blessed Virgin, features remarkable frescoes by Lionello Spada. In the larger compartments, he depicted Abigail presenting an angry David with provisions (left), Judith and Holofernes (center), and Esther at the foot of the throne of Ahasuerus (right). The intercolumniation band includes representations of the Virgin with Child crowned with stars, an Angel carrying a palm, the Ark of the Testament, an Angel with an olive branch, and a crowned Virgin gazing at the sky. The two paintings in the intercolumniation are attributed to Michele Mattei.
The colossal Altar of the Blessed Virgin, originally built behind the high altar, was later relocated due to structural issues, sparking significant controversy. The Duke ultimately ordered its placement at the right-side altar. This grand architectural composition, adorned with columns, statues, and bas-reliefs, was completed in 1615 under the direction of Giovanni Battista Magnani. The statues and bas-reliefs—featuring Abraham, Jesse, Saint Francis of Paola, Saint Philip Benizi, Isaiah, and Jeremiah—were sculpted by Francesco Orso and Giacomo Novo from Lombardy. The upper chapel, with a striking blue starry background, houses the famous image of the Virgin, surrounded by an elaborate ornament supported by four pietra del paragone columns, crafted by Paolo Larioli and Gabriele de’ Chierici, master silversmiths from Reggio.
Adding to the grandeur are the bronze torches beside the altar, exquisitely decorated by Vincenzo Morenghi with cherubs and high-relief statuettes. The five large silver lamps, crafted between 1734 and 1736 by Paolo Magnavacchi based on a design by Ludovico Benedetti, include a monumental piece weighing 70 kilos, adorned with cherubs and angelic figures, representing a masterpiece of goldsmith craftsmanship.
Space of the Doctors of the Church
The adjacent chapel (Gabbi and the Silk Art) was painted in oil in 1622 by Carlo Bononi of Ferrara, who depicted the Doctors of the Church in the pendentives. The eight Beatitudes are illustrated in the lower sections of the dome, with eight angels positioned above, and Spiritual Power at the center.
The altar opposite the door, adorned with statues of Religion and Justice, was crafted by Francesco Pacchioni in 1606. The adjacent altar, later completed by his son Alberto Pacchioni, features the altarpiece of Saint George led to martyrdom and Saint Catherine fainting, a masterpiece by Ludovico Carracci.
Southern Arm
The southern vault, extending from the dome to the Altar of the City, features remarkable frescoes by Luca Ferrari, whose masterful brushwork brings to life Rachel at the well on the left, Jael and Sisera at the top (with a particularly striking perspective of Barak’s horse), and on the right, the dramatic Submergence of the Pharaoh’s army in the Red Sea. The intercolumniation band contains five backgrounds, symbolizing Purity with three angels holding various attributes, and ending with Virginity. The frescoes in the intercolumniation are attributed to Giulio Cesare Mattei, known as the Frenchman.
The altar, featuring an exquisite marble altarpiece, was commissioned by the Municipality of Reggio based on a grand design by Giovanni Battista Magnani. The altarpiece, depicting the Crucifixion with Jesus consoled by the angel, is one of the most admired and debated works, created in 1624 by Francesco Barbieri, known as Guercino. For this painting, Guercino received not only the established payment of 500 ducats but also a gold necklace with a medal worth 100 lire, featuring the Madonna of Reggio and the city’s coat of arms (Malvasia).
Central Dome
The grand dome, designed by Cosimo Paglioni and constructed by Francesco Pacchioni, is a masterpiece of architectural grandeur. Its frescoes were executed by Lionello Spada, a pupil of the Carracci, who was commissioned for the work in 1614 after negotiations with Ludovico Carracci and Giulio Cesare Procaccini fell through. Spada began painting in the same year, working alongside Tomaso Sandrini, who was tasked with the perspective and decorative elements. The dome was completed in 1616, with the total cost amounting to 11,082 Reggio lire, of which 8,360 lire went to Spada, while the remainder was allocated to Sandrini.
Spada’s artistic brilliance is evident in the vibrant colors and bold foreshortening, particularly in the depiction of the angels that adorn the dome’s curvature. In the spandrels of the dome, four prominent figures symbolize Almsgiving, Religion, Charity, and Prayer. The drum of the dome features the four patron saints of the city, along with four saints from the order of the Servites, surrounded by chiaroscuro portraits. Within the chiaroscuro dome itself, eight figures from the Old Testament are depicted, leading to the curve at the lantern, where the Apotheosis of the Virgin is gloriously rendered among a procession of angels.
The City Altar
The City Altar, with its opulent marble structure, was commissioned by the Municipality of Reggio and designed by Giovanni Battista Magnani. The altarpiece, painted by Francesco Barbieri, known as Guercino, between 1624 and 1625, depicts Christ on the cross consoled by an angel, with the Madonna, Saint Mary Magdalene, Saint John, and Saint Prospero at His feet. This masterpiece remains one of Guercino’s most admired and discussed works. As recognition for his work, in addition to the agreed payment of 500 ducats, he was also gifted a gold necklace with a medal worth 100 lire, featuring the Madonna of Reggio and the city’s coat of arms (Malvasia).
Sacristy and Treasury
The sacristy houses a remarkable clock crafted by Father Cherubino Ranzani (or Forzani, or Sforzani) of Reggio (1580–1676), which ingeniously displays the days, lunar phases, zodiac signs, and epact cycles. Adjacent to it, the treasury holds a rich collection of Reggio goldsmithing from the 17th and 18th centuries. (A special permit from the temple administration is required for visits.)
In the side display cases, notable items include six embossed silver candlesticks, a silver cross adorned with the Este coat of arms (donated by Duke Francesco I between 1631 and 1634), a 16th-century silver pax depicting the Deposition, an original sketch by Lelio Orsi in an elaborate frame, a 19th-century silver frontal or antependium, a processional cross, and a variety of reliquaries, thuribles, plates, chalices, and plaques.
The central display case showcases an exquisite collection of ancient jewelry, featuring a gold-threaded cross decorated with pearls and rubies, an emerald cross, various arabesque designs with precious stones, and the votive crown of the Senate and People of Reggio (1674), adorned with gems.
In the vestibule leading to Via dei Servi, stands the monument erected in 1820 in honor of Duchess Maria Teresa Cybo-Malaspina, wife of Duke Ercole III d’Este of Modena and Reggio.
Museum of the Sanctuary of the Blessed Virgin of Ghiara
The Museum of the Basilica della Ghiara, established in 1982 by the Fabbriceria del Tempio and the Civic Museums, preserves and showcases the artistic heritage of this significant Marian temple. A prime example of seventeenth-century Emilian art, the Basilica houses masterpieces by renowned artists such as Carracci, Guercino, and Tiarini. The museum displays a selection of objects donated to the Temple as expressions of devotion.
Among its treasures is the Tendina (Jesse’s Cloth), an Emilian embroidery on gauze (144 x 123 cm), dating back to before 1617. This exquisite work was intended to conceal and protect the miraculous image of the Madonna della Ghiara.
The museum consists of four rooms, each dedicated to a specific aspect of the Basilica’s history and artistry:
- The Iconographic Room preserves the sinopia (preliminary drawing) of the miraculous image, along with other significant works.
- The First Room displays silverware and goldsmith’s pieces, including seventeenth-century candlesticks donated by Duke Francesco I d’Este during the plague, which are still in use today.
- The Second Room holds ancient and precious gifts, among them a 1569 sketch by Lelio Orsi for the restoration of the Marian image.
- The Third Room houses the civic and religious emblem of the Basilica: the Crown donated by the Community of Reggio in 1674, in gratitude for the many graces received.
The Museum of the Sanctuary of the Blessed Virgin of Ghiara is part of the network of Civic Museums of Reggio Emilia and is owned by the Municipality of Reggio Emilia.
Feast Day
Feast Day : 12th May
The feast day of the Basilica della Beata Vergine della Ghiara on May 12 commemorates the Miracle of 1596, which played a significant role in the devotion to the Madonna della Ghiara and the construction of the basilica.
Church Mass Timing
Monday : 7:30 a.m., 9:00 a.m. and 6:30 p.m.
Tuesday : 7:30 a.m., 9:00 a.m. and 6:30 p.m.
Wednesday : 7:30 a.m., 9:00 a.m. and 6:30 p.m.
Thursday : 7:30 a.m., 9:00 a.m. and 6:30 p.m.
Friday : 7:30 a.m., 9:00 a.m. and 6:30 p.m.
Saturday : 7:30 a.m., 9:00 a.m. and 6:30 p.m.
Sunday : 7:30 a.m., 9:30 a.m., 11:30 a.m., 6:30 p.m. and 8:30 p.m
Church Opening Time:
Monday : 7:15 am – 12:00 pm, 4:30 pm – 7:15 pm
Tuesday : 7:15 am – 12:00 pm, 4:30 pm – 7:15 pm
Wednesday : 7:15 am – 12:00 pm, 4:30 pm – 7:15 pm
Thursday : 7:15 am – 12:00 pm, 4:30 pm – 7:15 pm
Friday : 7:15 am – 12:00 pm, 4:30 pm – 7:15 pm
Saturday : 7:15 am – 12:00 pm, 4:30 pm – 7:15 pm
Sunday : 7:15 am – 12:30 pm, 4:30 pm – 9:15 pm
Contact Info
Address:
Corso Giuseppe Garibaldi, 44, 42121 Reggio Emilia RE, Italy.
Phone : +390522439707
Accommodations
Connectivities
Airway
Bologna Guglielmo Marconi Airport to Temple of the Blessed Virgin of Ghiara, Reggio Emilia, Italy distance between 52 min (67.4 km) via E45 and A1/E35.
Railway
Reggio Emilia AV Mediopadana station to Temple of the Blessed Virgin of Ghiara, Reggio Emilia, Italy distance between 11 min (4.8 km) via Via Gramsci.
