Introduction
The Basilica of Santa Maria delle Grazie is an architectural gem located in Brescia, Italy, at the western end of Via Elia Capriolo, where it intersects with Via delle Grazie. Construction of the church began in the first half of the 16th century, and it underwent significant embellishments during the 17th century, making it one of the finest examples of Baroque architecture in the city. The church is renowned for its extraordinary interior, which is adorned with intricate frescoes, stuccoes, and gilding, covering every surface with exceptional craftsmanship. These artistic details create a visually striking and opulent atmosphere that highlights the richness of Baroque art. Among the church’s notable treasures are several works by local artists, including three canvases by the famous Brescia-born painter Moretto. Two of these canvases are now housed in the Pinacoteca Tosio Martinengo, an important art gallery in the city.
Adjacent to the basilica is the Sanctuary of Santa Maria delle Grazie, a neo-Gothic structure built in the 19th century. This sanctuary complements the church, offering a contrasting yet harmonious addition to the site’s architectural landscape. Together, the church and sanctuary form a significant religious and artistic complex in Brescia, attracting visitors and art enthusiasts alike for both its spiritual and historical value.
Early Beginnings and Relocation
The origins of the Church of Santa Maria delle Grazie trace back to the early 16th century when it was founded by the Gerolamini, a religious order that had been present in Brescia since the mid-15th century. Initially, the Gerolamini had established their church in a location north of the city, at the northern end of Via Oberdan, which was outside the original walled city of Brescia. In 1512, the city of Brescia suffered a devastating sack carried out by the soldiers of Gaston de Foix-Nemours. After the city was regained by the Republic of Venice in 1517, the Venetian authorities decided to clear the area surrounding the city walls to prevent further military threats. This led to a process called the “spianata,” during which any buildings within a 1.5-kilometer radius of the city walls were destroyed, including the church of the Gerolamini. As a result, the Gerolamini were forced to find a new location. In 1517, they obtained permission from the Venetian authorities to relocate to the Church of Santa Maria di Palazzolo, situated inside the city walls at the western end of the present-day Via Elia Capriolo. This church had originally been part of the Umiliati order, but the Umiliati were suffering from moral decline at the time. Consequently, the Gerolamini’s presence in the church also served to renew the convent’s moral and spiritual integrity.
Construction of the New Church
In 1519, Pope Leo X issued a papal bull granting the Gerolamini permission to rename their new complex to Santa Maria delle Grazie. Despite this, the dimensions of the existing building did not satisfy the needs of the new inhabitants. As a result, in 1522, the construction of a new church was initiated immediately adjacent to the original structure. The new church, designed by the friar Ludovico Barcella, was consecrated in 1539, becoming the main place of worship for the Gerolamini. The original church of Santa Maria di Palazzolo was retained as an annexed sanctuary.
Jesuit Influence and Later History
In 1668, Pope Clement IX decreed the suppression of the Hieronymite order, leading to the transfer of the church and its annexed cloisters to the Jesuit Fathers. The Jesuits established a renowned school in the monastery, maintaining their presence there until 1797 when the monastery was suppressed following the events of the Napoleonic era. Despite the closure of the monastery, the church remained open and continued to be officiated.
Elevation to Minor Basilica
On March 17, 1963, the church was elevated to the rank of a minor basilica by Pope John XXIII. This recognition was significant, as Pope John XXIII had visited the church multiple times during his earlier roles as Apostolic Nuncio and Patriarch of Venice.
Architecture of Basilica of Santa Maria delle Grazie, Brescia, Italy
Architect : Antonio Tagliaferri
Architectural Style : Gothic Revival architecture.
Exterior Features
The Main Portal and Facade
The Church of Santa Maria delle Grazie is accessed through a small churchyard, enclosed by a wrought iron gate. To the right of the entrance stands a tall column with an Ionic capital, supporting a bronze statuette of the Madonna della Pace. This bronze statue, created by the Brescian sculptor Emilio Magoni, was positioned in 1921, replacing an older column that was destroyed by a hurricane in 1873. The façade of the church is marked by simple pilasters that divide the surface into three sections, with the central section being the highest. The façade is divided horizontally by a string course, and the upper portion is minimalistic, devoid of ornamental features. It is highlighted by a large rose window, which is decorated with an 18th-century stained-glass depiction of the Nativity, created by Giovanni Bertini.
Portal Details
In the center of the façade is a sculpted portal made from Botticino marble and red Verona marble, which originally came from a church that stood to the north of the city. This church was demolished in 1517 during the Venetian “spianata” (demolition of structures surrounding the city walls). The architrave of the portal bears the inscription:
“MATTHEUS LEONEUS HANC PORTAM PROPRIIS FABREFACTAM SUMPTIBUS BEATAE DEI GENITRICI GRATIARUM MARIAE DEVOTE DEDICAVIT”,
which honors the patronage of Matteo Leoni, a condotierri (mercenary leader) who funded the work. The lunette above the portal features a relief of the Madonna delle Grazie with the Child, flanked by two figures: on the right, Matteo Leoni in military attire with Saint Jerome, and on the left, Leoni’s son in prayer with Saint John the Baptist. The sculptural work is recognized for its innovative style and Gothic influence, representing a transitional period in Brescian stone art during the late 15th century.
Interior Features
Nave and Vaults
The church’s interior is structured with three naves. The central nave is covered by a barrel vault, while the lateral naves are covered by hemispherical domes, each corresponding to individual altars. The deep presbytery culminates in a polygonal apse. The ceilings, walls, and domes are elaborately decorated with frescoes, stuccoes, and gildings, demonstrating the grandeur of Baroque art. This decorative effort was a collaborative work of various artists, making the church one of the most spectacular examples of Baroque architecture in Brescia.
Frescoes and Artistic Contributions
The frescoes in the central vault are the work of Francesco Giugno, who created five medallions that depict key moments in the Virgin Mary’s life: the Apparition of the Risen Christ to the Madonna, Pentecost, Assumption, Coronation, and the Death of the Blessed Virgin. Giovanni Mauro della Rovere contributed to the frescoes in the presbytery, while Girolamo Muziano painted scenes from the life of Saint Jerome in the dome near the altar dedicated to the patron saint.
Altar and Chapels
Right Aisle
The first altar on the right is dedicated to Saint Barbara and is adorned with a painting by the Brescian artist Pietro Rosa, depicting the Martyrdom of Saint Barbara. This altar was supported by the Venetian artillery guild (School of Bombardieri and Artiglieri) established in 1531. The second altar, originally dedicated to Saint Rocco, features a canvas by Jacopo Palma the Younger, depicting the Redeemer flanked by Saints Rocco, Vittoria, and Corona. When the Jesuits took over the church from the Gerolamini in 1668, they changed the dedication of the altar to Saint Francis Xavier and replaced the painting with one by Pietro Antonio Rotari, showing Saint Francis Xavier among the Japanese.
The subsequent altars are dedicated to Saints Lucia and Apollonia, Saint Anthony of Padua, Saint Francis Regis, and others. The altar dedicated to Saint Anthony originally featured a painting by Moretto, depicting Saint Anthony of Padua between Saints Anthony the Abbot and Nicholas of Tolentino. This artwork has been moved to the Pinacoteca Tosio Martinengo for conservation, replaced by a late 19th-century copy. At the end of the right aisle, the chapel houses a remarkable work by Moretto: Madonna and Child in Glory with Saints Rocco, Martin, and Sebastiano, which remains in the church. A painting by Francesco Maffei, Saint Martin Resurrects the Son of the Widow, adorns the left wall.
Presbytery
The presbytery is home to several important relics, including the relics of Saint Jerome, which are preserved to the left of the holy arch. The high altar is backed by a modern copy of The Nativity, originally painted by Moretto and now housed in the Pinacoteca Tosio Martinengo. The walls of the choir are adorned with various paintings, including The Marriage of Mary (1609) by Friar Tiburzio Baldini, The Circumcision of Jesus Christ by Francesco Giugno, The Adoration of the Magi (1610) by Grazio Cossali, The Purification of the Virgin (1660) by Antonio Gandino, and The Visitation of Mary to Elizabeth by Baldini.
An 1844 organ by the Serassi brothers of Bergamo replaced the previous one, which was constructed by Giangiacomo Antegnati. The organ’s doors, decorated by Pietro Rosa, originally depicted the Cumaean Sibyl prophesying the birth of Christ to Emperor Augustus. Surrounding the organ are several other notable works, including The Annunciation by Antonio Gandino and The Massacre of the Innocents by Fra Tiburzio Baldini.
Left Aisle
The left aisle concludes with the chapel at the end of the apse, decorated with The Deposition and The Crucifixion by Friar Tiburzio Baldini. A 16th-century wooden crucifix, flanked by painted stucco statues of the Virgin Mary and Saint Charles Borromeo, is preserved here. The chapel also houses the mausoleum of Tommaso Caprioli, a leader who died in 1608. The mausoleum, erected in 1620, is attributed to the Carra school and features a commemorative inscription and a sarcophagus adorned with the leader’s coat of arms.
The next altar, dedicated to the Immaculate Conception, is framed by late 16th-century stucco decorations and a canvas by Pietro Maria Bagnadore. It depicts Saints Anne and Joachim, with an additional figure of the Immaculate Conception flanked by angels, painted by Giuseppe Tortelli.
Other altars along the left aisle include those dedicated to Saint Aloysius Gonzaga, Saint Joseph, and Saint Jerome. The altar of Saint Jerome contains a painting by Paolo Caylina the Younger, depicting Madonna delle Grazie with Saints Jerome, Eusebius, Eustochia, and Paola. The relic of Saint Jerome’s heelbone is preserved in the altar’s niche. A large painting by Fra Tiburzio Baldini, The Massacre of the Innocents, adorns the counter-façade.
Sanctuary of Santa Maria delle Grazie
The small sanctuary, which remains from the original Church of Santa Maria di Palazzolo built in the 13th century by the Umiliati, is an important site for the local population. The sanctuary underwent significant renovations in the 19th century, under the direction of architect Antonio Tagliaferri, and is today considered the finest example of 19th-century neo-Gothic architecture in Brescia. The interior is decorated with the work of various artists, including a bronze statue of Saint Callegari, and the sanctuary continues to be an important part of the religious and cultural life of the city.
Feast Day
Feast Day : 08 September
The feast day of the Basilica of Santa Maria delle Grazie in Brescia, Italy, is celebrated on September 8th, which is the Nativity of the Virgin Mary. This is an important day for the shrine, dedicated to Our Lady of Graces, and it is marked by solemn liturgies and celebrations in the basilica.
Church Mass Timing
Monday : 7:00 am, 8:00 am, 10:00 am and 4:00 pm
Tuesday : 7:00 am, 8:00 am, 10:00 am and 4:00 pm
Wednesday : 7:00 am, 8:00 am, 10:00 am and 4:00 pm
Thursday : 4:00 pm
Friday : 7:00 am, 8:00 am, 10:00 am and 4:00 pm
Saturday : 4:00 pm and 6:00 pm
Sunday : 7:30 am, 9:00 am, 10:30 am, 12:00 pm, 4:00 pm and 6:00 pm
Church Opening Time:
Monday : 6:45 am – 11:30 am., 3:00 pm – 6:30 pm.
Tuesday : 6:45 am – 11:30 am., 3:00 pm – 6:30 pm.
Wednesday : 6:45 am – 11:30 am., 3:00 pm – 6:30 pm.
Thursday : 6:45 am – 11:30 am., 3:00 pm – 6:30 pm.
Friday : 6:45 am – 11:30 am., 3:00 pm – 6:30 pm.
Saturday : 7:00 am – 12:45 pm., 3:00 pm – 6:45 pm.
Sunday : 7:00 am – 12:45 pm., 3:00 pm – 6:45 pm
Contact Info
Address :
Via delle Grazie, 13, 25122 Brescia BS, Italy.
Phone : +390308036934
Accommodations
Connectivities
Airway
Basilica of Santa Maria delle Grazie, Brescia, Italy, to PRADELLE BRESCIA, via pradelle, distance between 18 min (13.9 km) via Tangenziale Ovest.
Railway
Basilica of Santa Maria delle Grazie, Brescia, Italy, to Viale della Stazione, distance between 4 min (1.4 km) via Via Fratelli Ugoni.
