Church of Santa Maria delle Grazie

The Church of Santa Maria delle Grazie, also known locally as the Basilica di Santa Maria delle Grazie, is a magnificent architectural gem located in Brescia, Italy. This stunning church, situated at the western end of Via Elia Capriolo, stands as a testament to the city's rich historical and artistic heritage. Constructed in the first half of the 16th century and significantly enriched in the 17th century, this church is a must-visit for anyone exploring Brescia.

The History of the Church of Santa Maria delle Grazie

The origins of the Church of Santa Maria delle Grazie date back to the mid-15th century when the Gerolamini order established a church far north of the city walls. However, in 1517, following the devastating sack of the city by Gaston de Foix-Nemours' troops, the Republic of Venice ordered the destruction of all buildings within a kilometer and a half of the city walls, including the original church. The Gerolamini then relocated to the Church of Santa Maria di Palazzolo, situated within the city limits at the western end of Via Elia Capriolo.

In 1519, Pope Leo X granted the Gerolamini the right to rename their new church complex to Santa Maria delle Grazie. However, the modest size of the existing church did not satisfy the monks, leading to the construction of a new church in 1522, designed by Brother Ludovico Barcella. This new church was consecrated in 1539 and became the primary place of worship, while the former church remained as an annexed sanctuary.

In 1668, the suppression of the Gerolamini order by Pope Clement IX led to the Jesuits taking over the church and its cloisters, establishing a renowned school. Although the monastery was suppressed in 1797, the church remained open and active. On March 17, 1963, the church was elevated to the status of a minor basilica by Pope John XXIII, who had visited it multiple times during his tenure as Apostolic Nuncio and Patriarch of Venice.

Exploring the Church of Santa Maria delle Grazie

The facade of the Church of Santa Maria delle Grazie is accessible through a small churchyard enclosed by a wrought-iron fence. To the right stands a tall column with an Ionic capital, supporting a bronze statuette of the Madonna della Pace, crafted by Brescian sculptor Emilio Magoni. This column, erected in 1921, replaced an older one that was toppled by a hurricane in 1873.

The church facade is divided into three sections by simple pilasters, with the central section being the tallest. A horizontal cornice divides the facade, and a large rose window, adorned with an 18th-century stained-glass depiction of the Nativity by Giovanni Bertini, dominates the upper section.

The Portale

At the center of the facade is a beautifully carved portal made of Botticino marble and red Verona marble, transferred from the demolished church north of the city in 1517. The architrave bears an inscription commemorating Matteo Leoni, a captain of fortune who funded the portal's creation. The lunette above the portal features a relief of the Madonna delle Grazie and Child, flanked by Matteo Leoni in military garb with Saint Jerome on the right and one of Leoni's sons with Saint John the Baptist on the left. This sculptural ensemble, innovative in its modeling and decorations yet retaining a Gothic composition, represents a significant transitional phase in Brescian stone art of the late 15th century.

The Interior

Inside, the Church of Santa Maria delle Grazie boasts a three-nave structure, with a barrel vault covering the central nave and a series of hemispherical domes over the side naves, each corresponding to one of the fourteen altars. The deep presbytery is concluded by a polygonal apse.

The vault, walls, and all the lateral domes are adorned with frescoes, stuccoes, and gilding, making this church the most spectacular example of Baroque art in Brescia. The decorative enterprise was a collaborative effort involving many artists, including Francesco Giugno, who painted five medallions on the central vault depicting the Apparition of the Risen Christ to the Madonna, the Pentecost, the Assumption, the Coronation, and the Death of the Blessed Virgin. Giovanni Mauro della Rovere worked on the presbytery, while Girolamo Muziano painted episodes from the life of Saint Jerome in the dome near the patron's altar.

The Right Nave

The first altar on the right, dedicated to Saint Barbara, features a painting of the Martyrdom of the Saint by Brescian painter Pietro Rosa, a pupil of Titian. The altar's care was entrusted to the School of Bombardiers and Artillerymen, established by the Venetian government in 1531. The next altar, originally dedicated to Saint Roch, was later rededicated to Saint Francis Xavier by the Jesuits. In 1745, a painting by 18th-century Veronese painter Pietro Antonio Rotari depicting Saint Francis Xavier among the Japanese was placed on the altar.

The following altar, dedicated to Saints Lucy and Apollonia, is adorned with a painting by Vicentine painter Alessandro Maganza, depicting the two saints before the Madonna and Child, surrounded by Saint Joseph and an angel. The next altar, dedicated to Saint Anthony of Padua, was originally adorned with a painting by Moretto, now housed in the Pinacoteca Tosio Martinengo for conservation reasons and replaced by a late 19th-century copy by Bortolo Schermini. Above the side door hangs a painting of the Nativity by Callisto Piazza. The altar of Saint Francis Regis is adorned with a painting by Simone Brentana depicting the saint. The chapel at the end of the nave houses another important work by Moretto, the Madonna and Child in Glory with Saints Roch, Martin, and Sebastian, which remains in the church.

The Presbytery

On either side of the arch leading to the presbytery are the relics of Saint Jerome on the left and the mausoleum of benefactor Uberto Gambara from the 15th century on the right. The main altar is backed by a modern copy of a Nativity painting by Moretto, with the original housed in the Pinacoteca since the late 19th century. The walls of the choir are adorned with various paintings, including the Marriage of Mary by Brother Tiburzio Baldini (1609), the Circumcision of Jesus Christ by Francesco Giugno, the Adoration of the Magi by Grazio Cossali (1610), the Purification of the Virgin by Antonio Gandino (1660), and the Visitation of Mary to Elizabeth by Brother Tiburzio Baldini.

The church's organ, built by the Serassi brothers from Bergamo in 1844, replaced a 16th-century organ by Giangiacomo Antegnati, whose doors were decorated by Pietro Rosa with a scene of the Cumaean Sibyl prophesying Christ's incarnation to Emperor Augustus. Flanking the organ are paintings of the Annunciation by Antonio Gandino, the Massacre of the Innocents by Brother Tiburzio Baldini, the Nativity of the Virgin by Camillo Procaccini, and the Presentation of Jesus in the Temple, again by Antonio Gandino.

The Left Nave

The left nave's apse chapel, adorned with the Deposition and the Crucifixion by Brother Tiburzio Baldini, houses a precious early 16th-century wooden Crucifix, flanked by painted stucco statues of the Virgin Mary and Saint Charles Borromeo. The altar of the Crucifix also features the mausoleum of Captain Tommaso Caprioli (1575-1608), erected in 1620 and likely attributed to the Carra school. The mausoleum consists of a long commemorative inscription bordered by wide pilasters decorated with festoons and relief armors, topped by a sarcophagus depicting the young count in eternal sleep, crowned by his sumptuous family crest. Only the captain's heart is preserved here, as he died in Prague in 1608.

The Church of Santa Maria delle Grazie is not just a place of worship but a treasure trove of artistic and historical significance. Its richly decorated interiors, stunning frescoes, and remarkable artworks make it a must-visit destination for anyone interested in the cultural heritage of Brescia.