Introduction
The Basilica of Santa Maria in Porto is a significant and revered Catholic church situated in the heart of Ravenna, Italy. Located along Via di Roma, the main north-south street that runs through the historic city center, the basilica stands as an important place of worship and a prominent landmark. It is especially known for housing the Sanctuary of the Madonna Greca, which is dedicated to the Madonna in her Greek form, a revered figure considered the Patron Saint of Ravenna. This sacred site has been central to the city’s religious and cultural life, drawing pilgrims and visitors alike. The basilica’s historical importance is underscored by its elevation in 1960 when Pope John XXIII granted it the prestigious title of a minor basilica, recognizing its significance in both the local community and the broader Catholic Church. Not far from Porta Nuova, one of the ancient gates of the city, the Basilica of Santa Maria in Porto stands as a testament to Ravenna’s rich ecclesiastical heritage and continues to be a focal point for devotion, history, and art.
Early Beginnings and Construction of the Monastery
In the early 15th century, the Canons Regular of Santa Maria in Porto sought to build a new monastery adjacent to their existing church of Santa Maria in Porto Fuori, which was located approximately 4 kilometers outside the city walls of Ravenna. However, due to the influence of the Venetians, who governed the area at the time, the monks were required to construct the monastery within the city walls. They purchased a plot of land near Porta Nuova, situated at the southern edge of the walled city, where several houses were located. These houses were demolished on August 5, 1496, to make way for the new building. The construction of the monastery began in the same year, although it took over thirty years to complete. The canons, however, moved into the monastery in 1503, six years before its final completion in 1509. In 1511, Pope Julius II, during a visit to the region, stayed at the monastery. During this visit, he commissioned the architect Bernardino Tavella from Ravenna to design a new church for the monastery. However, the construction of the church did not begin until 1553, and it took several more decades to complete.
Development of the Church and Consecration
The work on the church advanced slowly, with the roof of the central nave completed in 1561. Despite the slow pace of construction, the church was consecrated on October 8, 1606. The ceremony was presided over by Pietro Aldobrandini, the Archbishop of Ravenna and Cardinal Camerlengo. By this time, the church had become an important religious site in the city. In 1710, a new high altar was installed in the church, further enhancing its spiritual significance. The façade of the church, designed by the architect Camillo Morigia, was completed in 1784, giving the basilica its iconic appearance that we recognize today.
French Invasion and Decline
The church and its sanctuary suffered significantly during the French invasion in 1797. The French troops ransacked the sanctuary, stripping it of its valuable treasures, and expelled the monks from the monastery. One of the most significant losses during this period was the painting by Ercole de Roberti, known as the Pala Portuense, which depicted the Virgin and Child enthroned, along with Saints Anne, Elizabeth, Augustine, and Blessed Pietro degli Onesti. This painting was later transferred to the Pinacoteca di Brera in Milan for safekeeping. The monastery and church were closed in 1798 and repurposed as military barracks. The church and its surrounding grounds remained unused until 1828 when the monastery was reopened. However, the final blow came in 1886 when the monastery was permanently closed due to the Italian laws on the liquidation of ecclesiastical estates (Royal Decree no. 3036 of July 7, 1866). The monastery’s buildings were then converted into a confectionery factory.
Restoration and Rebirth as a Parish Church
In the late 19th century, the church of Santa Maria in Porto was transferred to the diocesan clergy and became the seat of a new parish. The parish incorporated the area previously served by the now-defunct church of Santa Barbara. During the episcopacy of Archbishop Vincenzo Moretti (1871-1879) and his successors, efforts were made to revive the veneration of the Greek Madonna, the patroness of Ravenna. On April 21, 1900, during the celebrations marking the eighth centenary of the Virgin’s miraculous appearance, the image of the Greek Madonna was solemnly crowned.
20th Century and Modern Era
The church faced more challenges during World War II. On July 24, 1944, an unexploded bomb struck the choir area of the basilica, causing significant damage. After the war, the church was restored to its former glory. In 1960, Pope John XXIII elevated the church to the dignity of a minor basilica, recognizing its importance in the spiritual and historical life of Ravenna.
Monastery’s Current Use
Today, part of the former monastery is still used by monks of the Order of Saint Paul the First Hermit, who continue to officiate Mass in the basilica. Additionally, since 1972, part of the monastery complex has housed the Civic Art Gallery of Ravenna, preserving the region’s artistic heritage. The Basilica of Santa Maria in Porto stands as a symbol of resilience, reflecting the rich history, religious significance, and cultural transformation that has shaped the city of Ravenna over the centuries.
Architecture of Basilica of Santa Maria in Porto, Ravenna, Italy
Architect : Bernardino Tavella , Camillo Morigia.
Architectural Style : Baroque architecture.
External Features
The Basilica of Santa Maria in Porto stands proudly at the beginning of Via Roma, overlooking a large rectangular space adorned with flowerbeds. The church’s external design is characterized by a prominent staircase that leads up to the entrance, completed in 1783. The façade, a striking example of Istrian stonework, was designed by the architect Camillo Morigia and completed in 1784. This elegant façade is divided into two distinct horizontal bands, topped with a high cornice. The lower band is in the Ionic order and spans the entire width of the church, covering all three naves. The upper band, in the Corinthian order, corresponds only to the central nave. The lower band is subdivided into three main sections, each separated by four smaller sections. Each smaller section contains two semi-columns, with niches in the center. The niches house statues of saints, sculpted by the Veronese artist Diomiro Cignaroli. These statues depict the virtues of Charity, Faith, Hope, and Humility, placed from left to right.
The three main sectors of the lower band each feature a portal, with a broken pediment supported by two Ionic columns. The central portal is the largest, surmounted by a statue of the Greek Madonna, dating from 1689. Notably, the columns flanking this portal are ancient and are originally from the now-destroyed Basilica of San Lorenzo in Caesarea, dating back to the 5th century. The upper band corresponds to the central sector and two adjacent sectors of the lower band. In the center, a large rectangular window is bordered by a balustrade, with the coat of arms of the Santa Maria in Porto monastery above. On either side of the central sector, there are statues of Saint Lawrence (San Lorenzo) on the left and Saint Piero degli Onesti on the right. At the ends of the façade, statues of Saint Augustine (Sant’Agostino) and Saint Ubaldo are positioned.
The façade is crowned with a triangular pediment, prominently displaying the Marian monogram. At the intersection of the central nave and transept, an octagonal lantern rises, supported by a double order of windows. The lower order features four windows, each corresponding to one of the oblique sides of the lantern. The structure reaches a height of 53 meters, culminating in an octagonal lantern.
Internal Features
The interior of the Basilica of Santa Maria in Porto follows the traditional Latin cross plan, with a hall divided into three naves. The central nave is flanked by six lateral bays, and all the naves are covered by a sail vault. The church also features six chapels along each side aisle. These side chapels, with rectangular plans, are topped with barrel vaults and adorned with Baroque marble altars. In the fourth chapel on the right, the altarpiece depicts the Martyrdom of Saint James the Less, painted by the Ferrarese artist Ippolito Scarsella, also known as Scarsellino. The adjacent chapel features an altarpiece of the Martyrdom of Saint Margaret, painted by Cesare Corte, accompanied by 18th-century stucco statues of Saint Peter Damian and Peter the Sinner. On the left side, the third chapel contains Martyrdom of Saint Mark, a work by Palma il Giovane, while the next chapel displays a valuable 15th-century crucifix.
The transept arms are square in shape, with vaulted ceilings, and each arm contains a semicircular apse surrounded by a marble balustrade. The altar in the left arm of the transept houses the Greek Madonna, a 9th-century marble bas-relief from the East. This artwork depicts the Madonna in prayer, wrapped in a large cloak, and is said to have miraculously appeared near Classe on the beach on Easter Sunday in 1100. On the right side of the transept, the altar features a painting of Saint Lawrence, created by the Bolognese artist Emilio Taruffi.
The apse area, located beyond the crossing of the central nave, is similarly square and vaulted. The high altar, dating from 1710, is positioned in the center. Above it, a valuable ciborium made of polychrome marble stands, originating from an earlier altar designed by Giuseppe Vivoli in 1627 and completed by Ascanio Mula. Two angels carved from Carrara marble flank the ciborium. Behind the altar, against the semicircular wall, is a remarkable 16th-century wooden choir designed by Marino Francese. The choir, which consists of 75 stalls arranged in two superimposed orders, is richly decorated with sculpted designs. The altarpiece of the Annunciation, created by Giovanni Laurentini from Rimini, is placed within a gilded wooden frame at the center of the apse, between two large rectangular windows.
Pipe Organ
The Basilica of Santa Maria in Porto also houses two 18th-century wooden choirs located along the apse’s side walls. Each of these choirs originally contained its own organ, but the two instruments were unified in 1978 by the Ferrarese organ builder Gianni Ferraresi. The restored organ was adapted to modern standards, while retaining elements of the original wooden cases. The organ features two keyboards of 61 notes each and a 32-note concave-radial pedalboard. The organ’s facade is characterized by three main fields, each separated by pilaster strips and containing 11 main pipes aligned in a single cusp.
The Greek Madonna
The central object of veneration in the Basilica of Santa Maria in Porto is the Greek Madonna, the patron saint of Ravenna. This sacred image is a Byzantine bas-relief carved from Parian marble and is believed to be one of the oldest depictions of the Virgin Mary made in the East, dating back to before the Council of Ephesus in 431 AD. According to tradition, the image was miraculously transported to Ravenna from Constantinople in the year 1100 on Easter Sunday. It was discovered by the monks of Santa Maria in Porto Fuori on a beach near Classe. Alongside the bas-relief, Brother Serafino Merlini, the superior of the Lateran Canons, also brought sacred relics from monasteries across the region, which were authorized by the pope to be placed in the church. The Greek Madonna continues to be a focal point of devotion and an important symbol for the people of Ravenna.
Feast Day
Feast Day : 08th April
The feast day of the Basilica of Santa Maria in Porto in Ravenna is April 8th. This date commemorates the miraculous appearance of the Greek Madonna (Madonna Greca) in the area of Ravenna in 1100. According to tradition, the image of the Madonna was found by the monks of Santa Maria in Porto Fuori on the beach near Classe on that day, marking it as a significant event in the church’s history.
Church Mass Timing
Monday : 8:30 AM., 6:15 PM.
Tuesday : 8:30 AM., 6:15 PM.
Wednesday : 8:30 AM., 6:15 PM.
Thursday : 8:30 AM., 6:15 PM.
Friday : 8:30 AM., 6:15 PM.
Saturday : 8:30 AM., 6:15 PM.
Sunday : 8.30 AM., 11.00 AM., 6.15 PM.
Church Opening Time:
Monday : 7:30 am – 7:00 pm.
Tuesday : 7:30 am – 7:00 pm.
Wednesday : 7:30 am – 7:00 pm.
Thursday : 7:30 am – 7:00 pm.
Friday : 7:30 am – 7:00 pm.
Saturday : 7:30 am – 7:00 pm.
Sunday : 7:30 am – 7:00 pm.
Contact Info
Address :
Via di Roma, 19, 48121 Ravenna RA, Italy.
Phone : +390544 212055
Accommodations
Connectivities
Airway
Basilica of Santa Maria in Porto, Ravenna, Italy, to Aeroporto di Ravenna, Via Dismano, distance between 10 min (6.4 km) via Via Dismano/SR 71 Umbro Casentinese Romagnola/SP118.
Railway
Basilica of Santa Maria in Porto, Ravenna, Italy, to Ravenna Railway Station, distance between 3 min (1.1 km) via Viale Santi Baldini.
