Chioggia Cathedral, known locally as Cattedrale di Santa Maria Assunta, is a beacon of history and spirituality nestled in the charming town of Chioggia, Italy. This magnificent cathedral, the principal place of worship in Chioggia, serves as the mother church of the local diocese and stands as a testament to the town's rich religious and architectural heritage.
The origins of Chioggia Cathedral date back to the early 12th century, following the relocation of the episcopal seat from Malamocco in 1110. The original Romanesque church, constructed around 1090, was situated near the Porta di Santa Maria, to the south of the city. Tragically, this initial structure was destroyed by a mysterious fire on the night between Christmas and St. Stephen's Day in 1623. The cause of the fire remains unknown to this day.
In the aftermath of the fire, the current cathedral was constructed, beginning in 1624. The renowned architect Baldassare Longhena was commissioned to design the new structure. Longhena made a significant alteration by reversing the orientation of the medieval church to align the main entrance with the principal thoroughfare of the city. This adjustment required the presbytery to face east, leading to the unique placement of the high altar at the center of the choir, allowing the priest to celebrate Mass facing the rising sun.
The exterior of Chioggia Cathedral is marked by its simplicity, featuring exposed brickwork that exudes a rustic charm. The façade is distinguished by its gabled design, with niches housing statues of the city's patron saints, Felix and Fortunatus. These statues were salvaged from the Sanctuary of the Madonna della Navicella, which was destroyed by Austrian forces in the early 19th century. Above the main entrance, a bas-relief of a Venetian lion, dating back to the late 15th century, adds a touch of historical significance.
Adjacent to the cathedral, on the left, lies the Sagraeto, a former cemetery turned public garden adorned with sculptures from various eras. Among these is a bronze statue of a bathing putto by Amleto Sartori, created in the 20th century. The garden's balustrade, overlooking the Perottolo canal, features statues including a depiction of the Madonna and Child from the early 18th century.
To the right of the cathedral stands the impressive Romanesque campanile, a bell tower that reaches a height of 56 meters and is topped with an octagonal dome. Construction of the campanile began in 1347, following the collapse of the previous tower. The bell chamber houses six bells, tuned to D major, with the largest bell weighing an impressive 1300 kilograms. A 14th-century bas-relief depicting the Virgin Mary with the Christ Child and the patron saints adorns the entrance, while the tower's clock, installed in 1686, boasts a diameter of over four meters.
The interior of Chioggia Cathedral is designed in a Latin cross layout, featuring three naves separated by composite-style pilasters. The cathedral spans 33 meters in width, 66 meters in length, and 30 meters in height. The side naves are home to six altars, each adorned with remarkable works of art. Noteworthy altars include the Altar of Saint John the Baptist, with a painting by Francesco Rosa, and the Altar of Saint Michael the Archangel, featuring a painting by Palma il Giovane.
The semicircular presbytery is illuminated by two large arched windows and is adorned with pilasters. The high altar, crafted by Alessandro Tremignon, is embellished with putti and inlays depicting Marian scenes on one side and scenes honoring the patron saints on the other. The surrounding choir, dating back to the late 16th century, was originally from the Abbey of the Camaldolesi of Santa Maria Maddalena delle Cistercensi in Este and was relocated to the cathedral in 1691.
To the left of the presbytery is the chapel dedicated to the patron saints Felix and Fortunatus. The chapel's walls are adorned with noble family crests and a series of paintings depicting the saints' martyrdom and death. The altar features a painting by Fra Massimo da Verona, and the silver urn below, designed by Aristide Naccari, contains the relics of the two martyrs. A statue of the saints, created by Luigi Tomaz in 1980, stands in front of the chapel and is carried in procession during the patronal feast.
To the right of the presbytery is the Chapel of the Blessed Sacrament, decorated in Baroque style with stuccoes by Gerolamo Gasperi. The chapel houses two paintings by Michele Schiavon, depicting the Parable of the Banquet and the Meeting of Jesus and the Canaanite Woman. The altar, designed by Longhena, features a painting of the Last Supper by Martino Tagier.
Accessible from the Chapel of the Blessed Sacrament, the sacristy is adorned with four large paintings, including works by Alvise Benfatti and Andrea Vicentino. These paintings, dating to the late 16th century, were originally from the Sanctuary of the Madonna della Navicella.
In the center of the nave, attached to a pillar, stands the monumental pulpit, created in 1677 by Bartolomeo Cavalieri and Domenico Negri. The pulpit's marble parapet is decorated with bas-reliefs depicting scenes from the life of Christ, while the canopy above is gilded copper, added in 1682.
The Baroque-style baptistery, located at the beginning of the left nave, was constructed in the early 18th century by Alvise Tagliapietre. The backdrop behind the baptismal font features a bas-relief of the Baptism of Jesus, framed by statues representing the theological virtues of Faith, Hope, and Charity.
In the central nave, on the first pillar to the left, is a commemorative plaque dedicated to the young naturalist and poet Giuseppe Olivi. This plaque, designed by Melchiorre Cesarotti, inspired notable poets such as Ugo Foscolo and Giacomo Leopardi in their works.
On the cantoria in the counter-facade, the Callido pipe organ, later modified by Malvestio, Ruffatti, and Zanin, stands as a testament to the cathedral's musical heritage. The organ, with its mechanical transmission, features two 58-note keyboards and a 30-note pedalboard, comprising 1,617 pipes and 30 registers. The Baroque-style wooden case, painted to resemble marble, is flanked by Corinthian semi-columns and topped with a triangular pediment.
Chioggia Cathedral, with its rich history, architectural beauty, and artistic treasures, is a must-visit destination for anyone exploring the Veneto region. Its serene atmosphere and historical significance offer a glimpse into the spiritual and cultural heritage of Chioggia, making it a captivating stop on any Italian itinerary.
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