Tag: basilica

Adventures in New Mexico Part 4-Settlements, Staircases and Sweeping Views

©2022 Snapping the Globe, L.L.C. All rights reserved.

With great excitement, we set out early to see what the oldest capital city in the United States would offer. Already having experienced some of Santa Fe’s artistic qualities, we also desired to delight in some of its culinary offerings and encounter its many historical monuments and architecture.

With forest fires burning in the north and to the east, we were not sure how Santa Fe would be affected. Placing a call to the Santa Fe Visitor’s Center, we were assured that there was no smoke blowing toward Santa Fe. While it would have been easy just to head to head to Santa Fe’s Old Town, where many monuments were located, we wanted to head seventeen miles to the east first, to the settlement that was located on the historic Santa Fe trail.

Pecos National Historical Park encompasses thousands of acres which include prehistoric archaeological ruins to 19th century ranches to battlefields of the American Civil War. What I most wanted to see, however, was its notable feature, the Pecos Pueblo known as Cicuye Pueblo, a Native American community abandoned in historic times. Designated as a national monument in 1965, it was enlarged and renamed in 1990 to include two sites within the park, the pueblo and the Glorieta Pass Battlefield.

As we headed southeast on Interstate 25, we noticed an electronic sign at our exit noting the fires in the area. Concerned that circumstances had changed since our conversation with the Santa Fe Visitor’s Center, we almost turned back, but decided to continue on. Thankfully, we later learned that the Battlefield area was closed due to fires in the proximity, but the National Historical Park was open.

Peco’s National Historical Park Visitor’s Center

Starting our explorations in the Park Visitor Center, we learned how the early Indian Settlement once appeared and some aspects of its history through exhibits, artifacts and a short introductory film. We then headed out onto the 1.25 mile loop behind the Visitor’s Center.

Peco’s National Historical Park Visitor’s Center

The trail, lined with cactus, flowers and dry scrub, led us past ancient rock walls, critters, the remnants of ancient kivas, pueblo foundations and lots of rattlesnake warning signs! We were even able to descent into a preserved kiva which gave us an understanding of all of the other opens ones we had seen at Chaco Canyon. Finally, however, we encountered the remains of the last church that the Spanish completed in 1717.

While the Spanish sought to conquer and acquire great wealth, the Franciscan missionaries sought to amass converts. The first church was constructed between 1617 and 1621 but was located a fair distance from the pueblo. In 1625, another mission church was constructed 600 feet south of the pueblo and had an attached Convento which acted as storage, work rooms and living areas for the missionaries. While the construction was funded and supervised by the Franciscans, the Pecos people provided the labor, however, received no pay. Eventually, this forced labor and poor treatment led to the Pecos people joining nearly thirty other pueblos in a revolt against the Spanish Empire in 1680. At this time, the Church and Convento were burned to the ground. A smaller church, the one whose remains still stand today, was built on the rubble and completed in 1717.

The red adobe walls of the church set against the clear blue sky made from some beautiful photos, however, as we scanned the nearby mountains, we spotted smoke rising from the nearby ridges reminding us that the area was experiencing a devastating disaster.

Finally making out way back to the Visitor’s Center, we headed out to the Santa Fe Trail and back to Santa Fe. Spying an opportunity to grab some lunch before heading into Old Town, we stopped at a location of Blake’s Lota’ Burger. We had spotted other locations during our travels and decided to find out what made this New Mexico chain, established in 1952, so special. Green Chiles…grown, harvested and flame-roasted in Hatch, New Mexico and placed on their freshly made beef hamburgers. It was delicious and hit the spot, readying us for our explorations of Old Town.

Blake’s Lota’ Burger Santa Fe

While Old Town is very quaint, parking is a bitch! It took quite a bit of driving around near the main square before we secured a parking spot. Feeding the meter for a couple of hours, we then walked the few blocks to the plaza. The plaza was much larger than Albuquerque’s, also with a bandstand, surrounded by buildings and serves as the historic center’s heartbeat. Numerous artisans filled the covered porticos surrounding the plaza, hawking their wares, and visitors flocked here hoping to find a good deal and grab some respite from the sun.

Old Town Plaza
Santa Fe Old Town Art and Architecture
Peco’s National Historical Park
Peco’s National Historical Park

As we walked through the square and then the old streets, admiring the art and architecture, we finally arrived at the Cathedral Basilica of St. Francis of Assisi. Commonly known as Saint Francis Cathedral, it was built between 1869 and 1886 on the site of an older adobe church, La Parroquia, which in turn had been built on the site of an older church built in 1626 and destroyed in the 1680 Pueblo Revolt. Today, a small chapel on the north side of the cathedral is all that remains of the adobe church.

Cathedral Basilica of St. Francis of Assisi
Cathedral Basilica of St. Francis of Assisi

As we made our way through the cathedral, I kept feeling as though I had been there before. Though I know that I had not, I surmised that it was because it reminded me so much of the church I had grown up and gotten married in. Built in the Romanesque Revival style, it contained three naves, Corinthian columns and beautifully colored stained glass. What I loved most, however, was the Stations of the Cross. These wooden, framed paintings were modeled in the Spanish style, as also was the beautiful wooden, paneled altarpiece.

Stations of the Cross

Making our way outside, we studied the façade and statues of Archbishop J.B. Lamy and St. Francis of Assisi, the cathedral’s patron saint. Behind the church was a small garden with other statues and a small park adjacent to the church. While I would have loved to stroll through the park, I found the gates locked as workmen were completing some renovations.

Cathedral Basilica of St. Francis of Assisi Statues

Next on our list was another church, the Loretto Chapel. This small chapel was the first Gothic building west of the Mississippi and was patterned after Paris’ beautiful Sainte Chapelle. Built between 1873 and 1878, it is best known for its choir loft staircase. This circular staircase is considered “miraculous” because of its two complete spirals without center or side supports which defy engineering logic. Indeed, this amazing staircase takes center stage in the small chapel, but its beautiful altar and stunning architectural details also warrant inspection.

Loretto Chapel
The “Miraculous” Staircase
Loretto Chapel High Altar

Next up, yet another church was on our radar. Located on the original route of the Santa Fe Trail (next to the New Mexico and Santa Fe Visitor Information Center) is San Miguel Church. This small adobe structure boasts the title of being the oldest church structure in the United States. The original adobe walls and altar were built by the Tlaxcalan Indians from Mexico under the direction of the Franciscan friars in 1610 to serve a small congregation of soldiers, laborers, and Indians who lived in the Barrio de Analco (now the national historic district of Santa Fe). In 1680, it was partially destroyed during the Pueblo Revolt and rebuilt in 1710 with some structural changes. During its lifetime, under Spanish, Mexican and American rule, it has served as a place of worship, an infirmary for Franciscan missionaries, a military chapel, a venue for talks, concerts and ceremonies and a sanctified space for Sunday Mass in Latin and English.

San Miguel Church

The small chapel offers up a spartan interior with a beautiful wooden beamed ceiling and an all-adobe altar containing a stunning carved and painted wooden altar screen (1798). In the adjacent museum, take note of the Statue of Archangel Michael (1709), which was carried throughout New Mexico to solicit donations for the chapel’s 1710 reconstruction, the painted cross-shaped sword and a painted wooden crucifixion.

Taking note of the time dwindling on our meter, we headed back to our parked vehicle and drove to the Historic Fort Marcy Park area. Finding a spot adjacent to the Thomas Macaione Park, we walked around the corner to find the stairway leading to the Cross of the Martyrs. This replica of the original cross located off of the Old Taos Highway, was erected in the early part of the 20th century to honor the twenty-one Franciscan priests who were martyred during the Pueblo Revolt. The uphill path is lined with plaques detailing the city’s history and from the top, with the cross towering above us, we had sweeping views of Santa Fe below.

Cross of the Martyrs
Cross of the Martyrs

Santa Fe has so much fill your days, it would have been welcome to spend a couple more days investigating the countless museums and galleries spread throughout the city. We had, however, seen most of what we had come to and it was time to head to southern New Mexico for more fun! So with no regrets, we headed back to our hotel for dinner and to rest up for the long drive ahead…and time to raise our sights to the skies on our way to Roswell!

For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.

Pecos National Historical Park

  • https://www.nps.gov/peco/index.htm
  • Address: Pecos National Historical Park, 1 Peach Drive, Pecos, NM 87552
  • Hours: Summer (Memorial Day until Labor Day), 0800-1800, daily. Visitor Center, 0800-1700. Winter (Labor Day until Memorial Day), 0800-1630, daily. Visitor Center, 0800-1600. Closed Thanksgiving, Christmas and New Year’s Day.
  • Admission: free

Cathedral Basilica of St. Francis of Assisi

  • https://cbsfa.org/
  • Address: 131 Cathedral Place, Santa Fe, NM 87501
  • Admission: free
  • Hours: Tuesday to Friday, 0930-1600 , Saturday, 0930-1700, Sunday, 0800-1200. Closed Mondays.

Loretto Chapel

  • https://www.lorettochapel.com/
  • Address: 207 Old Santa Fe Trail, Santa Fe, New Mexico 87501
  • Hours: 0900-1700, daily
  • Admission: Adults, $5.00 USD, Seniors (65 and over), $4.00 USD, Youth (ages 7-17), $3.00 USD, Children (under 7 years), free.

San Miguel Church

  • http://sanmiguelchapel.org/
  • Address: 401 Old Santa Fe Trail, Santa Fe, New Mexico 87501
  • Hours: Monday 1300-1500, Tuesday-Saturday, 1000-1500, Sunday, 1200-1500. Docent History talks, Tuesday through Saturday, 1100 and 1400.
  • Admission: Closed November 20, 24 & 25

Cross of the Martyrs



In Chains

©2022 Snapping the Globe, L.L.C. All rights reserved.

Some of Rome’s major most beloved sights are what visitors aspire to lay their eyes on while visiting the Holy City…the Colosseum, St. Peter’s Basilica, the Vatican and the Trevi Fountain, just to name a few.

Bursting with history, the city offers many museums, churches and ancient archeological sites which detail the city’s bygone times. Amongst these stand-out attractions, however, there are many hidden gems. While visitors certainly have their pick of other attractions on the way to each of these places, it may be hard to discern which are worthy of a peek inside and I make it my mission to find these hidden gems…many of them, churches.

Last spring, while plotting my route to the Domus Aureus, I spotted a church a few blocks from the Coliseum. I had planned to leave with plenty of time to grab a bite to eat and take some photos of the Coliseum, so I decided to add this detour and mark off another church from my list (yes, I am obsessed with seeing all churches in Rome!).

As I exited the Cavour metro station and marched up Oppian Hill, I became a bit confused. Although I was operating on little sleep, I could not figure out if this was my intended destination. The façade of the the supposed church was extremely plain and situated next to a university building. In fact, spotting students chatting and reading on the adjoined steps, I thought it to be an extension of the university edifice.

San Pietro in Vincoli façade

Fully expecting to interrupt a classroom full of scholars, engaged in a discussion on world politics, I marched up to the conventional brown door, set inside a narrow portico, and pushed it open.

Entrance doors

No stern professor glared back at me for the abrupt interruption…

This was San Pietro in Vincoli, or St. Peter in Chains, the church that houses the restraints that bound St. Peter when he was imprisoned in Jerusalem.

Formerly known as Basilica Eudoxiana, it was built on older foundations during a span of eight years, starting in 432. Consecrated in 439, it was to become the place that would house the shackles that kept St. Peter imprisoned.

The chains from Saint Peter’s Jerusalem confinement were passed from Iuvenalis, Bishop of Jerusalem, to Aelia Eudocia (consort of Valentinian II) and then given to her daughter, Empress Eudoxia (wife of Emperor Valentinian III).  They were then gifted, by the Empress, to Pope Leo I. Legend states that on August 1, when Pope Leo I compared them to the chains of St. Peter’s final imprisonment in the Rome’s Mamertime Prison, the two chains fused together prompting the pope to initiate the construction of a place where this miracle could be viewed by the faithful.

The church contains a main nave and two aisles and normally, I would first work my way through each aisle to see the side chapels. This time, I headed straight for the main altar. There was something special here that I needed to see.

Main altar

Underneath the main altar, accessed by an open stairway, I found these important relics, housed in a reliquary in a lighted case and flanked by statues. Judging by todays standards and chains that I have seen used in various applications, these appear to be thin and quite flimsy. That being said, even with these restraining me, I probably could have not escaped imprisonment and I was moved knowing that these iron manacles once touched the flesh of Saint Peter.

The chains of Saint Peter
The chains of Saint Peter

My inquisitiveness satisfied, I moved on, focusing my attention on the other important aspect of San Pietro in Vincoli. While the basilica is more commonly known for the chains of Saint Peter, it is also very well known for being the home of Michelangelo’s statue of Moses which guards the tomb of Pope Julius II. Located on the right side of the church, the imposing funeral monument was originally intended to be part of a massive forty-seven foot statue. Instead, it became the centerpiece of the Pope’s tomb. There is much to analyze in the massive sculptural piece, however, take a hard look at Moses…he is depicted with horns, connoting “the radiance of the Lord”, a symbol that was common in early sacred art and easier to sculpt than rays of light.

Michelangelo’s statue of Moses and the tomb of Pope Julius II
Moses reproductions for closer inspection

Naturally, I proceeded to move through the two side aisles and the two side altars, inspecting the chapels and beautiful works displayed in each as well as glancing above at the 18th century coffered ceiling. This great work of art displays the Miracle of the Chains, by Giovanni Battista Parodi, depicting the healing of Saint Balbina by Pope Alexander as he touches the neck goiter with the chains that once bound Saint Peter.

San Pietro in Vincoli side chapels
San Pietro in Vincoli side chapel
San Pietro in Vincoli coffered ceiling
San Pietro in Vincoli coffered ceiling

Artistry decorating the basilica include a painting depicting the Liberation of St. Peter (Domenichino,1604), Deposition (Cristoforo Roncalli) on the altarpiece on the first chapel on the left, the tomb of Cardinal Nicholas of Kues and its relief, Cardinal Nicholas before St. Peter. Other notable tombs include the one of Florentine sculptor, Antonio del Pollaiuolo (left side of entrance) who added the figures of Romulus and Remus to the sculpture of the Capitoline Wolf, the tomb of Cardinal Cinzio Aldobrandini and tombs once believe to be the seven Maccabean martyrs depicted in 2 Maccabees 7-14.

The third altar in the left aisle holds a beautiful mosaic of Saint Sebastian from the seventh century which depicts Saint Sebastian’s posthumous role in ceasing the plague in northern Italy in 680. Pay close attention to the frescoes as they illustrate skeletons and other images not often shown in Catholic churches.

As I exited the facility and walked around the peripheral, I was once again struck at its simplistic nature. Disguised by the activities of La Sapienza University next door, housed in the former associated convent, one might never know that they are walking past one of the most illustrious churches in the city.

San Pietro in Vincoli exterior

Yes, on this day, I found one of the city’s hidden gems.

San Pietro in Vincoli

  • https://www.sanpietroinvincoli.com/
  • Address:  Piazza di San Pietro in Vincoli 4/a, Roma, Italy 00184
  • Hours: Daily, 0800-1230 and 1500-1900
  • Admission: free
  • Getting There: By Metro, Cavour, Line B. By Bus, number 75, 84 and 117

Strike Out

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Italian train strikes…I hate them.

It always seems that they happen when I have plans to visit other towns in Italy. While they usually give plenty of notice, for some reason, I usually miss that information until I arrive at the train station and realize that something is amiss.

Last October, exactly that happened. Skipping my nap, I readied myself for my day trip to Vigevano, the city known for its shoemaking history. With my list of places I wanted to visit in hand, I arrived at Porta Genova train station, purchased my ticket and walked out to the platform to await my ride. My train was supposed to leave at 12:40, but the time had come and gone. As I began to study the departure board, a man began speaking to me in Italian. My confused look must have clued him in that I did not speak his language, so instead, he said, “Signora, no trains, no trains!”

WHAT? NO TRAINS?

Refusing to believe his revelation, I continued to wait, eventually realizing that not one train had traveled through the station. Trying to look up any bit of information on the internet, I had no success, even with attempting to find an alternate route, other than driving or walking.

Defeated, I realized that I needed to find an alternate plan for the day. “Okay, think…”, I said to myself. Realizing that I was near the Navigli Canal area, I decided to head that way.

It was a beautiful, fall afternoon, perfect for strolling along the waterway, so I attempted to enjoy my plan modifications…with a scoop of gelato to cheer me up! Having been in this area before, I decided to seek out more about what makes it special.

Until the nineteenth century, the Navigli canals were the port area of Milan allowing the reach of Lake Maggiore, Lake Como and Ticino. Consisting of two major canals, Naviglio Grande and Naviglio Pavese, these canals were used to import the marble needed to construct the Duomo church.

Navigli Grande

Today, there are alternate methods of reaching other Italian cities and for receiving goods and merchandise, but the Navigli canals still play an important part in the Milanese daily life. An exciting place where locals and tourists alike meet to enjoy the lovely evenings while the evening light reflects on the waterways, many restaurants and bars are available to choose from. The last Sunday of the month also draws crowds for the Vintage Market, which hosts exhibitors from all over Lombardy selling an odd assortment of goods.

It wasn’t Sunday and it wasn’t quite happy hour yet, so I opted to analyze every shop, alleyway and piece of architecture along the way. Not long after I began my explorations, I stumbled upon something interesting. What appeared to be an awning covering a small stream, I learned was the Vicolo Lavandai, the former laundromat, dating back to the last century. One would expect that it was the meeting place of women, however, it is interesting to note that in fact, it was the men who did the washing here. The small stream was fed by the Naviglio Grande and on wooden boards, also known as brellins, they scrubbed their clothing items. These men created their own trade association in 1700, the Confraternita dei Lavandai which had St. Anthony of Padua as its patron saint and it was to him that they dedicated the church of Santa Maria delle Grazie al Naviglio.

Vicolo Lavandai

This church was where I headed next, a short distance down the canal.

Santa Maria delle Grazie al Naviglio, had its humble beginnings on the left bank of the Naviglio Grande in the sixteenth century with a chapel built to house an image of the Madonna. The chapel was eventually demolished and a larger Baroque church was built in its place, being devastated by fire in 1719 and then restored. At the end of the 19th century, the church, deemed to small for the growing parish, was demolished and replaced with a larger one in 1909…the current church.

The exterior was a bit confusing for me as it did not look like many of the Italian churches I had visited. In fact, it did not really appear to be a church at all remaining largely unfinished. I entered the portal set in its rough brick façade and took a look around, still not convinced that it was a church that I was setting foot in.

Santa Maria delle Grazie al Naviglio

Glancing around, I noticed that the church’s neo-Romanesque interior contained three naves covered by a barrel vault. As I made my way down the main aisle, I admired the afternoon light filtering in through the stained glass windows established throughout the church. Two bronze pulpits and two additional altars flanked the main altar. These altars were crowned by stained glass windows depicting the Cross and the Madonna. The altar on the left was formerly the main altar and contained a statue of the Pietà which was originally housed in the previous church. The right altar is dedicated to Saint Anthony of Padua, the protector of the nearby laundrymen. The highlight, however, was the neo-Gothic high altar which showcased a beautiful temple containing a bas-relief of God the Father Blessing.

Bronze pulpits
Altars dedicated to Saint Anthony of Padua and the Pieta
Santa Maria delle Grazie al Naviglio
Santa Maria delle Grazie al Naviglio
Santa Maria delle Grazie al Naviglio

Making my way through the church’s interior, I was continually drawn to the rich stained glass windows and the church’s clean lines. Stopping in the baptistery, I admired the stunning fresco of Jesus’ baptism by John the Baptist.

Baptistery

The cafes were starting to attract a few patrons interested in cappuccinos and stronger concoctions. As tempting as a nice, chilled Nastro Azzurro sounded at that moment, I decided to make my way to one other place.

Passing the Church of San Gottardo al Corso and Porta Ticinese, the former city gate of Milan, I snapped a few photographs of each, but with neither being my intended destination, I continued on.

Church of San Gottardo al Corso
Porta Ticinese

Finally, I made it to the place that had been on my list of things to see in Milan for some time…Basilica di Sant’ Eustorgio or more specifically, the Museum of Sant’Eustorgio and the Portineri Chapel.

Basilica di Sant’ Eustorgio
Basilica di Sant’ Eustorgio

 Walking through the cloister, I made my way to the entrance to the museum. Here, I paid my entrance and began my self-guided tour through the museum. After St. Ambrogio, the 4th century Saint Eustorgio is one of the most noteworthy medieval structures in the city and stands on the ruins of an Early Christian Necropolis. It houses the famous Portinari chapel as well as numerous artworks of different nature.

Remains of Early Christian Neocropolis

Moving from the southern portico of the first cloister to the remains of the early Christian necropolis, I admired the frescoes that decorated the walls of this area. Heading then to the former chapter house of the primitive Dominican monastery and then the monumental sacristy, I inspected the large collection of relics, liturgical objects, vessels and reliquaries that were exhibited in the walnut cabinets. While the collection is vast, many which were referred to in the archives, have been lost over the years.

Monumental Sacristy
Monumental Sacristy

Continuing on to the sunlit Solarian Chapel with its black and white floors, I stopped for a moment to appreciate its simplistic style. Turning and navigating the hall on the left, I then found myself in the famous Portinari Chapel.

Solarian Chapel
Portinari Chapel
Portinari Chapel

Commenced in 1460 and completed in 1468, this jewel of the church, created in the Renaissance style, is absolutely breathtaking. With walls decorated with frescos by Vincenzo Foppa and a multi-hued dome, it contains the relic head of St. Peter of Verona, to whom the chapel is consecrated. Originally slated to function as both a family chapel and mortuary, the marble sepulchre of Peter of Verona was moved from the basilica into the chapel in 1736. A marble altar was erected in front of it, on which was place a silver shrine containing the saint’s head. In the 1880’s the sepulchre was placed off center in the chapel to be better illuminated and the shrine containing the head was moved to a small adjacent chapel. The chapel also includes a number of paintings by undisclosed Lombard artists including frescoes such as the Miracolo della nuvola e Miracolo della falsa Madonna, and a depiction of the martyrdom of St. Peter Martyr.

Portinari Chapel
Portinari Chapel
Portinari Chapel

Finally, I made my way to the dimly lit basilica which was once an important stop for pilgrims on their journey to the Holy Land because it was said to contain the tomb of the Three Magi.

Basilica di Sant’Eustorgio
Basilica di Sant’Eustorgio
Basilica di Sant’Eustorgio
Basilica di Sant’Eustorgio
Basilica di Sant’Eustorgio

Founded around the 4th century, it was named after Eustorgius I, the Bishop of Milan. In the 12th century the revered relics of the Magi were taken to Cologne, Germany and it wasn’t until the beginning of the 20th century that fragments of the bones and garments were returned to Sant’Eustorgio. Today, they are in the Three Kings altar.

Three Kings Altar

On the right side of the church there are chapels commissioned from the 14th century onwards by Milan’s prestigious families each contain important frescoes and tombs. The high altar offers an imposing marble polytypch from the 15th century and other important works by Ambrogio Figinia can be found in the church.

As I exited the church, I took a few moments to analyze its more modern exterior, dating back to the 19th century. What is interesting to note is that the belltower is topped with a star instead of a traditional cross, giving homage to the Three Magi.

Basilica di Sant’ Eustorgio

As my day was coming to a close, I took a seat at the restaurant I chose along the Navigli Grande. Reflecting on the turn of events due to the train strike, I was sad that I wasn’t able to stay with my plan of visiting Vigevano. Yes, I struck out!

But…that didn’t mean that I lost the game. With some quick thinking, I was able to salvage the day and see some amazing sights within the city. And Milan is full of them!

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Vicolo Lavandai

  • Address: Alzaia Naviglio Grande, 14, 20144 Milano MI, Italy
  • Hours: 24 hours, daily
  • Admission: free

Church of Santa Maria delle Grazie al Naviglio

  • Address: Alzaia Naviglio Grande, 34, 20144 Milano MI, Italy
  • Hours: unknown
  • Admission: free

Church of Saint Gotthard al Corso

  • Address: Corso S. Gottardo, 6, 20136, Milano MI, Italy
  • Hours: unknown
  • Admission: free

Porta Ticinese

  • Address: Piazza Ventiquattro Maggio, 20123 Milano MI, Italy
  • Hours: 24 hours, daily
  • Admission: free

Basilica di Sant’ Eustorgio

  • http://www.santeustorgio.it/ http://www.museosanteustorgio.it/en/home-eng/
  • Address: Piazza Sant’Eustorgio, 1, 20122 Milano, MI, Italy
  • Hours: Church, daily, 0745-1200 and 1530-1830. Museum of Sant’ Eustorgio, Monday, closed. Tuesday to Sunday, 1000-1800.
  • Admission:  Adults, €6,00, Children (ages 6-18), €4,00, Children (under 6), free.
  • Getting There: From Piazza Duomo (MM1 and MM3) with Tram 3. Trams 9 and 10 (Piazza XXIV Maggio stop) and from Piazza Sant’Ambrogio (MM2) with bus 94 (DeAmicis-C.so Porta Ticinese stop).

The First American Saint

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As a Catholic school girl, it was de rigueur to learn about the many saints of my religion.

There are over 10,000 named saints and blessed people. Christians began honoring other Christians around 100 A.D. with many of the first saints being martyrs who had given up their lives during the persecution for their faith, a custom that was appropriated from the Jewish faith in which prophets and holy people were revered and honored with shrines.

While a schoolgirl, the most beloved saints, and the ones I remembered most, hailed from other countries; Saint Francis of Assisi (Italy), Saint Patrick (Ireland), Saint Anthony of Padua (Italy), Saint Christopher (Canaan), Saint Patrick (Ireland), Saint Theresa of Avila (Spain), Saint Bernadette (France). In 1975, just after I began third grade, I remember my teacher, Sister Mary Cecilia, giving us some important information. The first American-born saint had been canonized…Saint Elizabeth Seton.

I don’t remember learning much more about her at the time…learning to duplicate Sister Cecilia’s neat cursive handwriting seemed much more crucial.

Years later, during a visit to Gettysburg, Pennsylvania, a familiar name popped up on the map in the nearby town of Emmitsburg, Maryland…that of Elizabeth Seton.

The fact that a shrine to this American saint was located in a very small town in Maryland was quite puzzling as I knew that she was a New York native. Gettysburg had been my main destination on this trip, but once I learned of this shrine, it was a place that I simply had to visit and the mystery as to how St. Elizabeth Seton ended up here would be solved.

An arresting film in the museum presented St. Elizabeth Seton’s life in a brief twelve minutes.

Elizabeth Ann Bayley was born in New York City on August 28, 1774 in the Episcopal faith. Married at the age of nineteen to William Magee Seton, she had five children. During a trip to Italy with her husband, she was moved by the deep faith of those who practiced Catholicism. Before their return home, however, William passed away from tuberculosis, leaving her a widow. Seeking consolation and the desire to experience the deep faith that she had witnessed in Italy, Elizabeth decided to convert to Catholicism two years later, despite criticism from friends and family,

Portraits of the Seton Family, Mother Seton, top right

Working as a teacher for a short time, in order to support herself and her children, she was approached by a visiting priest, the Abbe Louis William Valentine Dubourg, a member of the French émigré community of Sulpician Fathers and then president of St. Mary’s College of Baltimore Maryland. Abbe Dubourg extended an invitation for Elizabeth to move to Emmitsburg and establish the Saint Joseph’s Academy and Free School, dedicated to the education of Catholic girls on land bestowed by Samuel Sutherland Cooper, a wealthy convert and seminarian at the newly established Mount Saint Mary’s University.

On July 31, 1809, Elizabeth Seton established the first congregation of religious sisters to be founded in the United States, which was dedicated to the care of the children of the poor. With the initiation of Sisters of Charity of St. Joseph’s, Elizabeth adopted the title of “Mother Seton”. Mother Seton, along with the sisters, worked tirelessly until her death on January 4, 1821, at the age of 46.

Touring the museum, I learned a great deal about Elizabeth Seton’s remarkable life from illustrations, anecdotes, 19th century artifacts and letters written by the saint. The 40 Years A Saint exhibit detailed how she became a saint and highlighted the event on September 14, 1975, when Pope Paul VI proclaimed her a saint.

“Elizabeth Ann Seton is a saint. St. Elizabeth Ann Seton is an American. All of us say this with special joy, and with the intention of honoring the land and the nation from which she sprang forth as the first flower in the calendar of the saints. Elizabeth Ann Seton was wholly American! Rejoice for your glorious daughter. Be proud of her. And know how to preserve her fruitful heritage.” –Pope Paul VI

This exhibit’s focal point is the actual banner which hung in St. Peter’s Square on the day of her canonization.

Moving on to the basilica located upstairs from the museum, I was extremely moved by the the artistic beauty of the building. Originally designed as a chapel for the sisters of the Daughters of Charity, upon her beatification it was decided that it would serve as her National Shrine. Completed in 1965, the main feature is the altar for Saint Elizabeth. Here, in the Altar of Relics, is where Saint Elizabeth Seton’s remains are entombed in a copper casket enclosed in marble and topped with a statue of the saint, sculpted in Italy and depicting Mother Seton dressed in the habit that she and the Sisters of Charity wore beginning in 1809.

Altar of Relics

Stepping out of the basilica into the beautiful sunny afternoon, a day fit for visiting a saint, I ventured through the well manicured lawn to the Stone House, one of the first homes that Elizabeth Seton lived in when she first arrived in Emmitsburg. The home, which had been expanded over the years to accommodate the growing number of sisters, is usually available for self-guided tours. Due to the Covid restrictions, however, this and none of the other buildings throughout the premises were open. There was an audio recording that I was able to play and listen to while I peered into the windows at the period furnishings that still decorate the structure.

Moving through the gardens, I made my way over to the White House, the first house of the Sisters of Charity. Originally called “St. Joseph’s House” for Elizabeth Seton’s high regard of the saint, it is fully furnished with items that include those in existence for nearly 200 years and includes a schoolroom, much like the one Saint Elizabeth taught in, and a small chapel. Again, the interior was not open to visitors, but a recording was available at the back door.

The cemetery was a short walk away. As Mother Seton, her sister-in-law, Harriet, and other sisters walked through the woods searching for a cemetery site, the story has been passed on that Harriet threw an apple core against an old oak and declared it to be her final resting spot. Sadly, it was where they laid Harriet to rest only four months later.

Surrounded by a high wall set with bronze stations of the cross, the cemetery is the final resting place of many graves of Sisters and Daughters of Charity. As I walked toward the center, I discovered the Mortuary Chapel. Built by Elizabeth’s son, William to honor his mother, her remains laid in rest here for only a short while. In 1846, they were transferred to the chapel’s vault and later exhumed for her beatification. As I saw earlier, they rest in the basilica.

Mortuary Chapel
Former Resting Spot of Mother Seton
Stations of the Cross

My visit to the National Shrine of Saint Elizabeth Seton had come to an end. So much information was imparted on me that I felt like once again, I was at St. Joseph’s School in Sister Cecelia’s religion class. Thinking that I was going to only learn about Gettysburg and the ghosts of Civil War past, I discovered so much more about the first American saint.

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The National Shrine of Saint Elizabeth Seton

Sanctuaries and Souvenirs

©2020 Snapping the Globe, L.L.C. All rights reserved.

The early bird gets the worm…or a great breakfast!

Although I had checked many things off of my list of things to do in Havana, there was still a great deal more to see! As I sat in the dining room, enjoying my eggs, fruit and toast, I checked my map and thought more about the some of the things that were suggested by my seatmate on the flight to Havana.

Deciding to start at the Basilica and Convent of San Francis of Assisi, I thought that I would finally see more of the religious institutions that dot the predominately Catholic country.

Getting anywhere was slow going as I was continually distracted by the unique architecture that existed on each block. Passing the Museo Casa de Mexico Benito Juarez, I made a note to return later if there was time and then made a quick stop to admire the statue of Simon Bolivar, the Venezuelan military and political leader who led Venezuela, Bolivia, Colombia, Ecuador, Peru and Panama to independence from the Spanish Empire.

Casa de Benito Juarez and Simon Bolivar Statue

Finally arriving in the Plaza de San Francisco de Asis, I first sought out two significant statues. The monument to the Polish composer, Frederic Chopin, sits on a bench, beckoning visitors to take a seat next to him and El Caballero, the bronze likeness of José María López Lledín, a man which much speculation once surrounded. An interesting story surrounds the latter. Originally from Spain, he was was said to have lost his family, arrested for a crime he did not commit and wandered the streets of Havana during the 1950s. He always carried a portfolio with his treasured pens, gifts and colored pieces of cards, which he bestowed on passersby. Over time, he became well known throughout the city and would often entertain with poetry recitals and storytelling. He died in 1985 and was buried in the Cemetery of Santiago de las Vegas. After the restoration of the plaza in the late 1990s, his remains were exhumed and placed in the Basilica Menor de San Francisco de Asis. His statue was erected in 2001 and was designed by sculptor José Villa Soberón, who also sculpted the John Lennon sculpture which can be found in the Parque Lennon in Vedado. His beard has been rubbed shiny and it is said that doing so gives good luck!

After a beard rubbing, I admired the lovely, wide open plaza and the beautiful buildings surrounding it, as well as the statue of Fray Junípero Serro with a Juaneño Indian boy, before entering the Basilica.

The original church that stood on this site was built by the Franciscans in 1591 but was damaged by severe storms in 1680 and 1692. A hurricane toppled its tower in 1694. Eventually, construction resulted in the church’s present Baroque stature in 1739, was named a basilica by the Pope and became the city’s premier house of worship. It eventually adjoined the adjacent Franciscan convent.

As I ventured inside, again I was a bit underwhelmed, as I had been with the Havana Cathedral. Its interior is in the shape of a Latin cross with domed ceilings, however, it lacked the grandeur that I thought would exist here. As I later learned, however, from 1762, the church no longer served the Catholic religion. From this time, the British had control over Havana and commandeered the basilica for Anglican services. Considered desecrated by the Protestants, Catholicism never existed within its walls again. Although the monks continued to occupy the convent, Queen Maria Cristina of Spain closed the building and transferred the members of the religious order. In 1907, the property was purchased by the government and sadly, became a warehouse.

Today, the church acts as one of Havana’s most outstanding concert halls and is home to the acclaimed all-female chamber orchestra, Camerata Romeu. As I wandered through the church, I was privy to some of the members performing during a rehearsal session.

Inside the crypt, the remains of many 17th and 18th century aristocrats can be found. The nave and the attached cloister also houses the Museum of Sacred Art which exhibits paintings by José Nicolás de la Escalera and Vicente Escobar, wooden images, early marriage registries and the armchairs and lectern used by Fidel Castro and Pope John Paul II during his 1998 visit. Though I enjoyed wandering through the church’s interior, it was the cloister with its fern-filled courtyards and countless rooms filled with religious artifacts that was most captivating.

The former church’s one hundred and thirty-seven foot tower, once the tallest in Havana (second tallest in Cuba), was previously crowned by a statue of St. Francis of Assisi, whose head was severed during a hurricane in 1846. Though the tower can be accessed by a somewhat rickety staircase (which I had planned to tackle for the beautiful views of the city), it was sadly not meant to be…the spire was closed due to maintenance.

Making my departure, I headed south on Oficios and immediately found myself staring at a train’s coach car, El Coche Mambi. Entering the car, I was greeted by an elderly woman, who explained (in Spanish) that visiting was by tour only. After paying her, she then led me through the car which was used by the Presidents on their tours of the country. Last used by Fidel Castro Ruz, the coach has been converted into a museum and preserved the same as when it was in use. Though my Spanish is basic, I mostly understood the history and what I was seeing as she led me through the coach and explained its contents. The president’s bedroom, the president’s wife’s bedroom, the kitchen, dining room and the president’s desk were quite interesting and beautifully displayed.

As I thanked the gracious senora for the short, yet insightful stopover, I ventured out, making my way to the waterside.

Headed toward the ferry terminal, I first encountered Our Lady of Kazan Orthodox Cathedral. Since I had deemed the day, “a church day”, I decided that my ferry to Regla could wait while I find if it was possible to see the church’s interior. Discovering unlocked doors, I peered inside, spying a woman performing some tasks. She did not seem disturbed by my presence, so I quietly entered and moved throughout the space, discovering each of the elements that make an orthodox church unique.

The church’s construction dates back to 2004 when Cuban leader Fidel Castro offered to build the cathedral as a monument to Russian and Cuban good-will. The cathedral was built in the Byzantine style with a central golden cupola surrounded by four smaller copper-colored ones. The pieces of the cupolas, as well as elements of decoration, including the floor covering and the church plate, were brought from Moscow and the interior has space for 500 congregants.

After my walk-thru was complete, I ventured back out into the sunshine, finally heading to the ferry terminal. My destination was the small town across the bay where the Iglesia de Nuestra Señora de Regla is located. Though I probably would have not done this without some coaxing, it was highly recommended by the tour guide that I sat beside on the airplane. After hearing how much I love visiting churches, he insisted that I take the ferry to see this church, which houses the black Madonna, a highly venerated statue of the Virgin Mary.

I was a bit nervous as I entered the ferry terminal. After having my bag searched, I unsuccessfully searched for a ticket counter. There were many people waiting and as a boat approached from the south, I assumed that this was the correct vessel. Lining up with both locals and tourists, I asked a gentleman if this was the boat to Regla and was told yes, only to glance up and discover that another boat had pulled up to the dock. Hmmm. I decided that I would go with my gut!

As I approached the lanchita on the right, I saw people paying the crew as they boarded. Thankfully, I had smaller change, even though I overpaid a bit…ticket price was only 10 centavos! Making my way across the boat to the open doorways, so that I could get some air while fighting for space among the masses, I again asked someone (who appeared to be a local) if I was on the boat to Regla. “Si Señora”, he replied and I breathed a sigh of relief.

As we pulled away from the dock, I realized that if I indeed was on the wrong boat, the other ferry crossed the bay to the Christ statue and that wouldn’t be such a bad thing. Our ferry motored off, getting further from the city and I spied the golden cupola of Our Lady of Kazan in the distance, reflecting the brilliant glow of the day. And…it looked like we were headed in the right direction!

Seven minutes later, we were pulling up to the dock in Regla and I decided to follow those who appeared to be tourists. From the looks of the area, it seemed like the church was the tourist destination of choice…maybe the only choice.

Iglesia de Nuestra Señora de Regla was a short walk and I was met by many vendors sitting on the stone gates which surrounded the church, hoping to sell me a candle or an offering to the Virgin. The church, with its long colorful history, is extremely important to the believers of the Virgin. The statue, which was believed to have been carved by St. Augustine “the African” in the 5th century, was brought from Spain in 453. After surviving a storm in the Strait of Gibraltar, it became known as the patron of sailors.

A small hut was built on the site, to house a copy of the image in 1687 by a pilgrim named Manuel Antonio, but was destroyed by a hurricane only five years later. A more durable chapel was built a few years later and in 1714, Nuestra Señora de Regla was proclaimed patron of the Bahía de la Habana. In 1957, the image was crowned by the Cuban Cardinal in the Havana Cathedral. On September 7, the saint is celebrated when thousands of pilgrims descend on Regla and the image is paraded through the streets.

The church’s vaulted ceiling makes a grand statement above the lightness of the church’s color scheme which is trimmed in blue, a salute to its association with the sea. There are beautiful paintings which depict life on the ocean, carved stations of the cross, saint’s statues and a golden side altar. As you enter the church, however, it is the altar, directly in your line of vision, that houses La Santísima Virgen de Regla. Though I had to wait a short time, I was finally able to approach the altar and take pictures of the Black Madonna…truly awe inspiring.

The ferry ride back to Old Havana was a quick affair and I toyed with the idea of immediately jumping on the other ferry. I wanted to revisit the Christ Statue and Castillo Des Los Tres Reyes Del Morro and I also wanted to tour La Cabana. There were other things in Old Havana that I wanted to discover first, however, so off I went by land, towards the Almacenes San José Artisan’s Market.

Since I had done a bit of browsing on Obispo street, but not yet made any significant purchases, I was eager to see what I might find in this highly recommended establishment. Built in 1885, the Havana’s oldest depository is the home to the largest artisan’s market in the city. A short walk from the harbor, it is easily accessible to cruise ship arrivals and offers everything from clothes to paintings to toys and tobacco accessories. The sheer size of it was quite overwhelming and I was not sure where to turn. As everyone tried to garner my attention, I decided that I would try to find shirts for my sons and a nativity set for my collection. In a predominately Catholic country, it would seem that finding a nativity set would be an easy feat, however, it took at least a half an hour of talking to people, who then went to talk to people, in order to find one! And since I was pretty particular about the type of t-shirts that I was searching for, it was a similar procedure. It was quite exhausting, but I met some interesting people, learned some interesting local news and walked away with the purchases I had planned and then a couple of unplanned ones too!

With my heavy package, I decided that I would begin heading back to my Airbnb to drop them and have a quick bite to eat. Crossing the street, however, I spotted the Church of St. Francisco of Paula. What caught my attention was the tall trio of stained glass windows on the rear of the church. I decided that I should take a quick look from the inside to see their sunlit beauty.

What originally served as an important hospital for women and children during the end of the 17th century, was built with an adjoining church devoted to St. Francis of Paola, one of the founders of the Roman Catholic Order of the Minims. The buildings were destroyed by a hurricane in 1730, but rebuilt in the Baroque style that is seen today. When the Havana Central Railroad attempts to demolish the church was met by opposition, work was completed to have it listed as a National Monument in 1944. Sadly, however, the railroad was able to destroy the hospital.

The church that can be visited today is similar in style to other Havana churches, those of Santo Domingo, Guanabacoa and San Francisco de Asis and has been extensively restored. The stained glass windows, that lured me inside, act as the altarpiece and this church has the only organ that has been preserved in Cuba with its original pipes and machinery. The ashes of the great Cuban violinist Claudio José Brindis de Salas (1852-1911), considered one of the best violinists of his time, are preserved in the church and although the the belfry still exists, its original three bells, destroyed during the hurricane of 1730, were never restored.

My stomach was starting to rumble and my feet were starting to ache, but there was one more church I wanted to see before I shifted gears. A couple of blocks from St. Francis of Paola church was the Iglesia y Convento de la Merced.

Having seen a few churches in the city, I had been a bit underwhelmed. This one, however, did not disappoint. One of the most beautiful churches in Havana, it was built between 1865 and 1867 in the Baroque style and is the type to make you gasp as you lay your eyes on the interior. Decorated by Cuban artists, it contains murals and frescoes throughout with highlights of light blue on the ceiling and an elegant black and white marble floor. Beautiful statuary and intricately carved stations of the cross grace its heart and it was hard not to take a seat on the old carved pews to rest and pray for a few moments. The most intriguing part of the church, however, was the chapel on the left side of the church with a full grotto installed behind the altar. Though the church is suffering from exposure to the damp air and is in need of restoration, it is truly one that I was glad that I did not miss.

Finally, it was time to continue my journey back to my temporary home. It had been a busy morning and I needed to refresh and refuel. After my lunch, it would be time to change channels from churches to the forts that lay across the channel.

From prayers to protection…all in a day in Havana!

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Casa Benito Juarez

  • Address: 116, Obrapia, La Habana, Cuba
  • Hours: Sunday and Tuesday only, 0930-1430.
  • Admission: Unknown

Statue of Simon Bolivar

  • Address: Mercaderes, Obrapia, La Habana, Cuba
  • Hours: 24 hours, daily
  • Admission: free

Convento and Basilica Menor of San Francis of Assisi

  • Address: Plaza de San Francisco La Habana Vieja, Havana Cuba
  • Hours: 0930-1800, daily
  • Admission: Church and Museum, $2 CUC (about $2 US), Tower $1 CUC (about $1 US), Children under 12 years, free

El Coche Mambi

  • Address: Oficios y Churruca, Havana, Cuba
  • Hours: Monday to Saturday, 0930-1600. Closed Sunday.
  • Admission: By tour only, $2 CUC (about $2 US)

Our Lady of Kazan Orthodox Cathedral

  • Address: Avenida del Puerto Esquina Calles Sol y Santa Clara – La Habana Vieja, Havana 10100 Cuba
  • Hours: No posted opening times
  • Admission: free

Terminal de Ferris (Ferry Terminal)

  • Address: Avenue Del Puerto, La Habana, Cuba
  • Hours: 0400-midnight, daily.
  • Admission: 10 centavos (about 10 cents US)
  • Capacity is 90 persons and boats depart every 15 minutes

Iglesia de Nuestra Senora de Regla

  • Address: Avenue Marti, Regla, Cuba
  • Hours: 0800-1700, daily
  • Admission: free, donations accepted

Almacenes San José Artisan’s Market

  • Address: Avenida del Puerto corner of Calle Cuba
  • Hours: Tuesday to Sunday, 1000-1800. Closed on Monday.
  • Admission: free

St. Francis of Paola

  • Address: 110 Leonor Pérez, Havana, Cuba
  • Hours: No posted opening times
  • Admission: free

Iglesia Y Convento de la Merced

  • Address: Calle de Cuba 806, Havana, Cuba
  • Hours: Hours listed are 0800-1200 and 1500-1700, Monday-Saturday and 0900-1300, Sunday, however, I ventured in after the noon hour, so church may or may not be closed. Mass times are 0900, Monday-Saturday and noon, Sunday
  • Admission: free

The Second Dome

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Churches, cathedrals and basilicas are a dime a dozen in Rome.

Most are beautiful. Some, not so much. Aside from these two differences, what sets many of them apart?

As I was walking down Corso Vittorio Emanuele II, it was getting dark and I had plans to meet a friend for dinner still some distance away. As I glanced at the building I was passing, I noticed that it was the Basilica of Andrea della Valle.

It would have to be a quick visit, but I was willing to walk back to my hotel a little faster or risk being a bit late for dinner with my friend, just to take a quick peak at this basilica.

The Basilica of Andrea della Valle’s origins date back to the Theatines, a religious order founded in the 1524. In 1582, the order was bestowed a palace and a small church with the obligation of building a large church dedicated to St. Andrew, the patron saint of Amalfi. The construction of this church was begun in 1590 and it was the desire of Cardinal Alessandro Peretti for the basilica to have the second largest dome in the city, behind St. Peter’s Basilica.

As the decoration of the basilica was undertaken, the decision of which artist would ornament the grand dome was a difficult one. Two artists were selected due to the inability of the Cardinal and the Pope to choose one over the other, with Dominichino assigned to the apse half dome and Giovanni Lanfranco to the main dome. The beautiful frescoes on the apse half dome leading to the main dome are what stopped me in my tracks when I entered the church. This is what truly sets this church apart from others.

There are exquisite chapels on each side of the basilica with works of art by important sculptors and painters, some, the pupils of masters, Bernini and Michelangelo. In fact, the Strozzi Chapel was probably designed by Michelangelo, although executed by Leone Strozzi. There are many Cardinals buried within these chapels as well as the bishop of Carcassone, France, Annibale Rucellai. The church also houses the tombs and cenotaphs of Popes Pius II and Pius III, the tomb of Giovanni della Casa, author of Il Galateo and the tomb of the martyr Saint Fortunatus in the Chapel of the Madonna della Purita.

It is important to check out the antique wooden crucifix in the Chapel of the Crucifix and the thirty-six stop pipe organ housed in the gallery. Built in 1845, it is still in use and can often be heard on weekday afternoons, when its organist practices.

And that was it.

As quickly as I came, I went.

Was worth being late for dinner? Absolutely!

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Sant’Andrea della Valle

  • http://santandrea.teatinos.org/
  • Address:  Vidoni Square, 6, 00186 Rome
  • Hours: 0730-1930, daily
  • Admission: free
  • Getting There: Metro, Spagna, walk 17 minutes, Metro, Barberini, walk 19 minutes

Basilica of the National Vow

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We spotted it from high above the city at the top of the Teleferico…and from Panecillo Hill. Heck, we could even see it from our hotel room!

There is one stunning structure that dominates Quito’s Old Town skyline.

The Basilica of the National Vow.

In 1883, the idea to build a church that demonstrated Ecuador’s devotion to the Roman Catholic church and the Sacred Heart was recognized by Father Julio Matovelle. Though funds were set aside by the Ecuadorian Congress the following year, hoping to put Ecuador on the map with such a prestigious building, it was not enough.

Seeking to gain the assistance of the whole nation, donations were accepted in the form of stone blocks with the vow that upon the church’s completion, the names of the donors would be carved into them. To ensure the remaining funds were in place, a tax on salt was then instituted and collected.

After over a hundred years of construction and despite a blessing by Pope John Paul II in 1985 and its inauguration in 1988, the basilica is not considered technically complete. In fact, local legend says that when the Basilica is finally completed, it will be the end of the world.

Located in the Santa Prisca neighborhood of Quito’s historic Old Town, this basilica which is often compared to Paris’ Notre Dame. It is the largest in the Americas and in Quito, which made navigating the streets seeking its destination quite easy as it towers above everything nearby, perched upon a hill.

Indeed, as I gazed upon this neo-Gothic architectural marvel, it did remind me of Notre Dame, however, as I approached, gazing upward, there were no gargoyles. The French architect, Emilio Tarlier, instead, used turtles, iguanas and other animals native to the Galapagos Islands and the Amazon, the pride and joy of the Ecuadorian culture. He also altered the style of the church to blend in with the Spanish style of the city’s Old Town, which has been declared a UNESCO World Heritage since 1978.

After paying our admission, we wandered through the main floor of the basilica, admiring the colorful stained glass windows, bronze and wooden doors, artfully tiled floors, religious artwork and statues, vaulted ceilings and wooden confessionals. There were many side chapels and altars as well as the tombs of Gabriel Garcia Moreno, the former president of Ecuador and former Archbishop, Jose Ignazio Checa Barba.

As we stared appreciatively at the giant rose window at the far end of the basilica, we noticed people congregated in the gallery beneath the window. Searching for a stairway leading to this area, we found ourselves outside in a large, stone courtyard. Asking around, we finally determined that we needed to visit the ticket window in the courtyard to pay for access to the upper level, including the towers.

Finally, making our way up the stairs, we first stood upon the gallery which offered a magnificent view of the church below and a close-up view of the stained glass windows, including the stunning rose window. Stepping out a few feet within an opening we were also able to see parts of the the exterior of the basilica, as well as the flying buttresses and close-ups of some of the stone animals that decorate the exterior. Continuing our ascent, we made our way past the cafe and entered the clock tower. A fascinating space, we were able to inspect the inner workings of the massive clocks and old pictures of the construction of the basilica that decorated the tops of the walls. Here, we also had spectacular views of the city as well as the basilica’s other tower.

On the other tower, we could see movement and discovered that there were visitors making their way up and throughout the structure. We had not seen a walkway or any other point of access that would lead to this tower. Stepping into the gift shop, we discovered that on the other side of this shop, there was an entrance to the Condor Tower. It was a rather scary, narrow plank walkway leading across the basilica above the vaulted ceiling. A little apprehensive, we cautiously made our way to the other side and up the narrow ladder to the outer platform. Walking around the tower, we found the narrow stairs leading up to the top of the tower. Waiting our turn, as their was only room for one person moving up or down, I gathered my courage and made the steep climb. Not normally scared of heights, I could appreciate the spectacular view of the church’s roof and clock towers, but as I stood there, I thought about the instability of the area. What if an earthquake suddenly shook Quito? We took a quick couple of photos together, but I honestly couldn’t make the climb back down and over the walkway back to the main structure fast enough!

The Basilica del Voto Nacional is a breathtaking landmark for the churchgoers that call it home and for the thousands of tourists that visit to regard its beauty each year. Representing the breathtaking architecture found throughout the country it is both alluring and a welcoming respite for those seeking to pray and pay respects. It is important to allow at least two hours to fully appreciate all aspects of the church, especially the climbs into the towers. Though a bit daunting to some, making the ascent to see the views of the city landscape and El Panecillo between the spires is one you will never forget.

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Basilica del Voto Nacional Quito

  • Address: Carchi 122 y Venezuela., Quito, Pichincha 170150
  • Hours: 0900-1700, daily
  • Admission: Church admission, $2.00 US, Tower admission, $2.00

The Papal Basilica of St. Peter’s

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Ever see something many times, yet never tire of it?

This is how I feel about St. Peter’s Basilica.

It’s no secret that I love churches, but this one surpasses all.

Situated on Vatican Hill, St. Peter’s Basilica can be seen from many parts of Rome, beckoning visitors, that total in the millions every year, from all over the world. One of only four Major basilicas in the world (with the other three also in Rome…St. Paul’s Outside the Walls, Santa Maria Maggiore and St. John the Lateran), this basilica achieved its fame as it derives its name from the fact that it was built on the site where St. Peter was buried in 64 AD.

This UNESCO world heritage site has a capacity of over 60,000 people and covers an area of over 22,300 square meters, making it one of the world’s largest churches. Originally the site of the Circus of Nero and a cemetery, the original basilica was erected between the years of 319 and 349 AD under the orders of Emperor Constantine, the first Christian emperor of Rome. Falling into disrepair after standing for over 1,000 years, Pope Julius II (who also commissioned the Sistine Ceiling) made the decision to demolish and rebuild the structure.

The greatest architects of the Roman Renaissance and Baroque were consulted and utilized for this new basilica, including Bramante, Raphael, Michelangelo, Donato, Giacomo della Porta and Maderno with Bramante’s original design being chosen in 1506. After 120 years, the basilica was completed and consecrated by Pope Urban VIII.

St. Peter’s Square, itself, is an architectural highlight, designed by Bernini in the seventeenth century, and is overlooked by the Loggia della Benedizione, the central balcony from where the pope delivers his Urbi et Orbi blessing at Christmas and Easter. It is here, on the right, where you join the queue to enter St. Peter’s basilica. The line moves quite quickly, however, the time seemed to drag as we stood in the heat of the August afternoon, making our way to the security screening area.

Finally, we entered the massive church and as always, I found myself unsure of where to turn first. There is so much to see on the main level of St. Peter’s including the Michelangelo’s Pieta, located to the right of the entrance, between the Holy Door and the altar of Saint Sebastian.. Carved from a single slab of marble, it was created by Michelangelo when he was only twenty-two years of age and is one of his first works of art. It is the only piece he ever created that was signed.

Take a look around on the floor nearby, and see if you can spot the red disk that marks that spot where Charlemagne and later Holy Roman Emperors were crowned by the pope.

Walking along the right and left naves, there were many side altars to admire, each more beautiful than the next, but it was what was at the high altar that commanded our attention. Here, Bernini’s famous baldachin is supported by four spiral columns and made with bronze from taken from the Pantheon. The baldechin stands over the altar which sits above the site of St. Peter’s grave. So holy is this site that the pope is the only priest allowed to serve at the altar.

Above us, the dome, also created by Michelangelo, was another of the basilica’s highlights. Soaring to a height of almost four hundred feet, this dome was based on Brunelleschi’s design for the Duomo in Florence. The cupola is supported by four stone piers names after the saints whose statues adorn the Bernini designed niches…Longinus, Helena, Veronica and Andrew. Having been up in the cupola before, I was anxious to see the remaining features before heading upwards.

Another of the basilica’s treasures is the 13th century bronze statue of St. Peter. Designed by Arnolfo di Cambio, what is immediately noticed is that statue’s right foot is extremely shiny…due to the centuries of caresses by visitors hoping to receive blessings by rubbing the extremity.

Heading into the Museo Storico Artistico, located in the left nave, we perused the multitude of sacred relics, including a jewel-studded cross gifted to the church by emperor Justinian II, a 6th century Crux Vaticana and a tabernacle by Donatello.

Finding our way to the Vatican Grottoes beneath the basilica, it is here that visitors can pay their respects to the tombs and sarcophagi of 91 popes that have served the Catholic church during its long history. You can also see the several large columns from the original 4th century basilica here, but my favorite part of being in this space is the tomb of the most beloved St. John Paul II, the second longest-serving pope in modern history who is credited in ending Communist rule. It is also interesting to note that in addition to the entombed popes, there are three women laid to rest here; Queen Christina of Sweden, Agnesina Colonna Caetani and Queen Charlotte of Cyprus.

Beneath this area, excavations have uncovered what is believed to be the tomb of St. Peter. This area, however, is accessible only to those escorted by a guide, booked well in advance.

Making our way back upstairs, we decided that it was time to head upstairs, to the dome and the cupola. The dome’s ticket entrance is located on the right of the basilica’s main portico and a major decision is to be made here when purchasing a ticket.

Walk up the 551 steps to the top (kudos to those who do) or take the lift halfway and climb the remaining 320 steps. Of course, we had had a long day, traveling from Naples and exploring the Vatican, so you probably guess what our decision was.

After exiting the lift, we walked around the first level, taking in the beautiful mosaics that line the walls making up the dome’s design and the birds’ eye view of the basilica below.

Walking out onto the roof of the basilica, we walked out to check out the statues of Jesus and the Apostles that can be seen on the roof of the basilica from the square. There is also a bathroom, a refreshment stand and a gift shop that you can mail your Vatican City postmarked postcards from.

Continuing onward and upward, it was here that the journey becomes a little more challenging. This second part requires the climbing of the remaining 320 steps to the top. There is a narrow, single-file, spiral staircase that requires you to lean in to accommodate the slanting of the roof and at the end, a corkscrew staircase. Though there are some windows along the way, this part definitely made me feel extremely claustrophobic and I could not wait to reach the top.

Once I did, however, the views of the city and St. Peter’s Square below were breathtaking!

Who could ever tire of this?

That’s why I keep coming back!

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St. Peter’s Basilica

  • http://www.vatican.va/various/basiliche/san_pietro/index_it.htm
  • Address: Piazza San Pietro, 00120 Città del Vaticano, Vatican City
  • Hours: October 1 until March 31, 0700-1830, April 1 until September 30, 0700-1900. Dome Access, October 1 until March 31, 0730-1700, April 1 until September 30, 0700-1800.
  • Admission: Basilica, free. Dome Access, including lift to terrace level and continue on foot (320 steps), € 10.00. Ascent on foot (551 steps), € 8.00. Reductions for schools are possible by presenting an attestation of the Institute with the list of participants, € 5.00
  • Getting There: Metro, Line A, Ottaviano stop and then a 10 minute walk. Bus lines 64, 62, 40 and 81 and Hop On/Hop Off buses drop off in Vatican City. Children under 10 travel free on all public transport. By car, the nearest parking facility is the underground five-story park, Terminal Gianicolo, a ten minute walk from St. Peter’s Basilica.

The Royal Necropolis

© 2017 Snapping the Globe, L.L.C. All rights reserved.

Off with his head!

Decapitated on the hill of Montmartre during the mid-third century, Saint Denis, the first patron saint of France and the first bishop of Paris, was said to have carried his head to the site where he wanted to be buried, the site of the present church…the Basilica of Saint Denis.

A shrine to Saint Denis was erected on the site, which was formerly a Gallo-Roman cemetery, and the Abbey of Saint Denis was established by Dagobert I, king of the Franks.  In 636, on orders of Dagobert I, the relics of Saint Denis were reinterred into the location and then later removed when they were transferred to the parish church of the town in 1795.  The relics were finally returned to the abbey in 1819.  At the death of Dagobert in 639 until the 19th century, the Abbey of Saint Denis became the burial site of not only St. Denis, but the burial place of 43 kings, 32 queens and 10 servants to the monarchy.  It is also interesting to note that the cathedral was only used for the coronation of French Queens, never the kings, that function being reserved for the Cathedral of Reims.

Today, Saint Denis is not on the Paris list of “must sees” but absolutely should be, as extraordinary as it is.  Not many people I know, who have visited Paris, have heard of it or actually know where it is located.  But, so impressed by my first visit a few years ago, I decided to make the journey to Saint Denis once again in the northern part of the city.

Taking the RER B, I headed north, changing lines to the RER D at Gare du Nord.  Disembarking at Gare du St. Denis, I walked out of the station only to realize that nothing looked familiar.  Asking for help, I proceeded to walk in the direction which I was pointed.  About ten minutes later, following signs marking the way, I finally found the basilica.

Admittedly, the exterior is quite remarkable and some time should be taken to inspect and appreciate the intricate details on all facades of the church before entering.  Admission to the nave is free and well worth a walk around.  From here, you can determine why the church was promoted to cathedral status in 1966, so awesome is its beauty.  Be sure to visit the gallery on the left side of the cathedral which showcases many royal items from past kings.  From the nave, you can spy the tombs and monuments from afar, however, if you are aspiring to a closer look (which you will), you must pay the admission to the necropolis outside at the right of the basilica.

Cathedral entrance

Cathedral exterior

Cathedral nave

Cathedral nave

Cathedral nave

Gallery with royal objects

Gallery with royal objects

The entrance to the royal necropolis is just past the admission booth, however, take a minute to enter to Visitor’s Center which offers a detailed history of the cathedral as well as an architectural model of St. Denis and the surrounding area.

Visitor’s Center

Once you’ve stepped back inside the basilica, you will realize how breathtaking it truly is.  The architecture is impressive with its vaulted ceilings and transept roses, however, there is so much more to behold here.  It is here that is the burial location of most French kings and the many monuments of kings, queens and others were moved here at the time of the Revolution, when the churches where they resided were demolished.  Many of these tombs exhibit the effigies of those they represent, but no longer contain the remains, when during Revolutionary times, the tombs were opened by workers, under orders from officials, and the bodies  removed and dumped into two large pits nearby.  A great number, however, were saved by archaeologist Alexandre Lenoir who claimed them as artworks for his Museum of French Monuments.

Saint Denis, more of a museum of monumental sculpture, offers the largest collection of funerary sculpture from the 12th to 16th centuries and a large number of tombs of particular worth, Clovis I, the first to be moved to Saint Denis, two beautiful enameled brass effigies of Blanch and Jean, the children of St. Louis, a lovely effigy of Berthe (Big Foot), whose monument was part of a series commissioned by St. Louis.  Be sure to set your eyes upon the colossal monuments of Francois I and Claude, Louis XII and Anne of Brittany and Henry II and Catherine de Medici, the parents in law of Mary, Queen of Scots.  Most interesting is the monument to Louis XVI and Marie Antoinette, of which the remains were found on January 21, 1815 and brought to Saint Denis by the Bourbons and buried in the crypt in the Bourbon grave.

Ensure that you do not miss the stairways down to the ossuary and the crypt.  The Bourbon Chapel, the first entrance down the stairs on the right, contains centographs from the 19th century which honors the Bourbon dynasty and the heart of Louis XVII.  The Bourbon grave, as mentioned above, contains the remains of Louis XVI and Marie Antoinette.  The royal ossuary contains bones exhumed from the royal tombs at the time of the Revolution  gathered by Louis XVIII  and placed behind two marble plates with the name of each monarch.  The archaeological crypt presents the remains of earlier structures and was the location of the martyred saints, Saints Denis, Rustique and Eleuthière.

Crypt

Bourbon Crypt

So enthralled was I by the intricately sculpted tombs each with their unique hand positioning and many with their beloved pets at their feet, that I had to remind myself to take note of the beautiful stained glass featured throughout;  the north transept rose features the Tree of Jess and the south transept shows the Creation as well as exceptional modern glass and twelve misericords.  Many of the panels have been removed for long-time conservation and replaced with photographic transparancies.

After spending a considerable part of the afternoon, closing time was drawing near and I was ushered outside to the now-closed gates by one of the cathedral employees.   Not quite ready to leave, I spent a few minutes in the waning sunlight and captured a few more photos.  Truly spectacular!

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Basilica of St. Denis

  • http://www.saint-denis-basilique.fr/en/
  • Map of the tombs in St. Denis:    https://uk.tourisme93.com/basilica/map-of-the-tombs-saint-denis-basilica.html
  • Address:  Basilique cathédrale de Saint-Denis 1, rue de la Légion d’Honneur,93200 Saint-Denis
  • Hours:  January 2-March 31 and October 1-December 31, Monday, Tuesday, Wednesday, Thursday, Friday and Saturday, 1000-1715.  Sunday, 1200-1715.  April 1-September 30, Monday, Tuesday, Wednesday, Thursday, Friday and Saturday, 1000-1815.  Sunday, 1200-1815.  Closed on January 1, May 1 and December 25.
  • Admission:  Adults, 9€, Under 26 years of age, 7€.  Audio Guide, 4.50€, Under 18 years, 3€.
  • Getting There:  Line 13, station Basilique de Saint-Denis.  The Metro Station was a couple of blocks away from the cathedral and easily spotted by the colorful pot near the entrance.  Taking the Metro allowed me to avoid the walk back to Gare du St. Denis for the RER.

 

All but three of the Kings of France are buried in the basilica in addition to a few other monarchs.  The remains of the earlier monarchs were removed from the Abbey of St. Genevieve which was destroyed.

  • Clovis I (466-511)
  • Childebert I (496-558)
  • Aregund (515/520-580)
  • Fredegund (third wife of Chilperic I), (died 597)
  • Dagobert I (603-639)
  • Clovis II (634-657)
  • Charles Martel (686-741)
  • Pepin the Short (714-768) and his wife, Bertrada of Laon (died 783)
  • Carloman I (751-771)
  • Charles the Bald (823-877) and his first wife, Ermentrude of Orleans (823-869)
  • Carloman II (866-884)
  • Robert II of France (972-1031) and his third wife, Constance of Arles (986-1032)
  • Henry I of France (1008-1060)
  • Louis VI of France (1081-1137)
  • Louis VII of France (1120-1180) and his second wife, Constance of Castile (986-1032)
  • Philip II of France (1165-1223)
  • St. Louis IX of France (1214-1270)
  • Charles I of Naples (1227-1285, an effigy covers his heart burial
  • Philip III of France (1245-1285) and his first wife, Isabella of Aragon, Queen of France (1248-1271)
  • Philip IV of France (1268-1314)
  • Leo V, King of Armenia (1342-1393)
  • Louis XII of France (1462-1515)
  • Francis I of France (1494-1547)
  • Henry II (1519-1559) and Catherine de Medici (1519-1589)
  • Francis II (1544-1560)
  • Charles IX (1550-1574), no monument
  • Henry III (1551-1589), also King of Poland (heart burial monument)
  • Henry IV (1553-1610)
  • Louis XIII (1601-1643)
  • Louis XIV (1638-1715)
  • Louis V (1710-1774)
  • Louis XVI (1754-1793) and Marie Antoinette (1755-1793)
  • Louis XVII (1784-1795), heart burial
  • Louis XVIII (1755-1824)

Other Royalty and Nobility

  • Blanche of France (daughter of Philip IV)
  • Nicolas Henri, Duke of Orleans (1607-1611), son of Henry IV
  • Gaston, Duke of Orleans (1608-1660), son of Henry IV
  • Marie de Bourbon, Duchess of Montpensier (1605-1627), wife of Gaston
  • Marguerite of Lorraine (1615-1672), Duchess of Orleans and second wife of Gaston
  • Anne Marie Louise d’Orleans (1627-1693), la Grande Mademoiselle
  • Marguerite Louise d’Orleans (1645-1721), Grand Duchess of Tuscany
  • Jean Gaston d’Orleans (1650-1652), Duke of Valois
  • Marie Anne d’Orleans (1652-1656), Mademoisselle de Chartres
  • Henrietta Maria of France (1609-1669), wife of Charles I of Scotland and England
  • Philippe I, Duke of Orleans (1640=1701), brother of Louis XIV
  • Princess Henritta of England (1644-1670), first wife of Philippe
  • Elisabeth Charlotte of the Palatinate (1652-1722), second wife of Philippe
  • Maria Theresa of Spain (1638-1683), consort of Louis XIV
  • Louis of France (1661-1711), le Grand Dauphin
  • Maria Anna Victoria of Bavaria (1660-1690), Dauphin of France, wife of Louis
  • Princess Anne Elisabeth of France (1662), daughter of Louis XIV
  • Princess Marie Anne of France (1664), daughter of Louis XIV
  • Marie Thérèse of France, (667-1672), daughter of Louis XIV
  • Philippe Charles, Duke of Anjou (1668-1671), son of Louis XIV
  • Louis François of France (1672), Duke of Anjou, son of Louis XIV
  • Philippe II, Duke of Orléans (1674-1723), Regent of France
  • Louis of France (1682-1712), Duke of Burgundy
  • Marie Adélaïde of Savoy )1685-1712, Duchess of Burgundy
  • Louis of France (1704-1705), Duke of Brittany
  • Charles of France (1686-1714), Duke of Berry
  • Marie Louise Elisabeth d’Orléans (1695-1719), Duchess of Berry
  • Na (not baptized) d’Alençon (1711)
  • Charles d’Alençon (1713), Duke of Alençon
  • Marie Louise Elisabeth d’Alençon (1714)
  • Marie Leszczynska (1703-1768), consort of Louis XV
  • Louise Elisabeth of France (1727-1759), Duchess of Parma
  • Henriette of France (1727-1752), daughter of Louis XV and twin of above
  • Louise of France (1728-1733), daughter of Louis XV
  • Louis of France (1729-1765), Dauphin of France
  • Infanta Maria Teresa Rafaela of Spain (1726-1746), first wife of Louis of France, Dauphin of France
  • Maria Josepha of Saxony (1731-1767), second wife of Louis of France, Dauphin of France
  • Philippe of France (1730-1733, Duke of Anjou
  • Princess Marie Adèlaïde of France (1732-1800), daughter of Louis XV
  • Princess Victoire of France (1733-1799), daughter of Louis XV
  • Princess Sophie of France (1734-1782), daughter of Louis XV
  • Princess Louise of France (1737-1787), daughter of Louis XV
  • Louis Joseph, Dauphin of France (1781-1789), first son of Louis XVI and Marie Antoinette
  • Princess Sophie Hélène Béatrice of France (1786-1787), second daughter of Louis XVI and Marie Antoinette
  • Henri de La Tour d’Auvergne, VIcomte de Turenne (1611-1675), Maréchal General de France
  • Anne of Brittany, Duchess of Brittany (1477-1514), wife of Charles VIII and Louis XII

 

 

 

 

 

 

The Finder of Lost Things and People

© 2016 Snapping the Globe, L.L.C. All rights reserved.

Venice is one of my favorite cities to visit.  A stunning and fascinating place, I adore wandering the narrow alleyways, crossing the canals and viewing the beautiful Venetian architecture.

On this trip, I decided that as much as I love Venice, it was time to venture farther out and see what other nearby cities had to offer.  A couple of years ago, I had done a little research on the city of Padova (Padua), which claims to be the oldest city in Italy.  My knowledge of Padova was limited to knowing that St. Anthony, the patron saint of finding things or lost people, died in this historical city.  I was also aware that Padova is the setting for most of the action in Shakespeare’s The Taming of the Shrew. After finding that Padova was only 14 minutes by train, I decided that the pilgrimage city was going to be my destination.

Departing from the Mestre train station, we arrived in Padova rather quickly since there are no stops in between the two cities.  After disembarking, a quick stop at the Tourist Information Office, which is located in the train station, secured some maps and additional information.

Since the Basilica di Sant’Antonio is only open until 7:00 pm, we decided to head there first and then make our way through the city.  In the interest of time, we opted to purchase tickets to ride the tram which would take us right to our destination.  Outside of the station, to the right, there is a ticket machine and a ticket counter to purchase tram tickets.  Our tickets were soon in hand and we headed across the street to the Stazione FS tram stop.
imageThe tram ride was rather quick and we soon arrived at the Santo tram stop.  A short walk to the corner, a left turn and we were gazing upon the Basilica at the end of the street!

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Millions of pilgrims travel to Padova every year, to visit the Basilica di Sant’Antonio (St. Anthony).  It is here that St. Anthony’s grave is preserved.  St. Anthony, originally from Lisbon, was proclaimed a Doctor of the Church in 1946 and was the second-most quickly canonized saint in the Catholic Church, after Peter of Verona.

imageThe Basilica, known locally as “Il Santo”, offers a commanding view from its square with its Romanesque, Byzantine and Gothic influences.  Many tourists linger in the area as it is such a holy site and it is recognized as one of the eight international shrines by the Holy See.  Although it is visited by millions of people each year, it is not the main cathedral of the city, that being the Cathedral-Basilica of St. Mary of Padua.

Construction of the Basilica began shortly after the death of St. Anthony, in approximately 1232.  Its completion in 1310 was followed by several modifications to the structure at the end of the 14th and mid 15th centuries.  St. Anthony, although currently buried in the Basilica, had previously been interred, according to his will,  in the small church of Santa Maria Mater Domini.  This small church was incorporated into the present basilica as the Cappella della Madonna Mora (Chapel of the Dark Madonna).

Although I had been warned that we should expect a line to enter the Basilica, we encountered none.   The Basilica is extensive in size, and although there a large number of visitors, while traversing the interior, it did not feel extremely crowded.  Signs are posted at the entrance and within the Basilica prohibiting photography and inappropriate dress.

imageThe interior of the church is quite beautiful.  Many funerary monuments of noteworthy artistic value are housed in the Basilica.  Attention should be given to each of the side chapels and their contents.  The Chapel of the Holy Sacrament (Cappella del Santissimo Sacramento) on the right aisle, houses the tomb of the famous condottiero Gattamelata and his son Giannantonio along with a bronze tabernacle designed by Girolamo Campagna.

 

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Several important images of the Madonna can also be found throughout the Basilica.  One of extreme importance is the Madonna Mora, a statue of the Madonna with the Christ Child by the French sculptor Rainaldino di Puy-l’Evéque, dating from 1396.  The name Madonna Mora refers to her olive skin and black hair.  Another noteworthy piece located in the high altar area is a bronze Madonna with Child along with six statues of Saints by Donatello.

imageAt the rear of the Basilica, is the ornate baroque Treasury Chapel with its resplendent ceiling depicting hundreds of angels amidst the clouds.  In this chapel are housed the relics of St. Anthony, including his tongue, which was discovered to be intact in 1263 when his coffin was opened so that his remains could be placed under the high altar in the Basilica.  The body of St. Anthony, can be visited in the Chapel of Madonna Mora in the middle of the nave.  Expect to stand in line to visit both chapels.

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imageAnother part of the Basilica worth visiting is the peaceful cloisters in the Basilica. The Cloister of the Novices, constructed in the 15th century, offers a superb view of the Basilica, the Magnolia Cloister, offers a splendid magnolia tree planted in the middle of the nineteenth century cloister, the General’s Cloister, in which the rooms of the Ministers General overlook and the Cloister of Blessed Luca Belludi, whose present form dates back to the late fifteenth century. Adjacent to the Magnolia Cloister is a gift shop which offers rosaries, medals and many other religious items.  Near the entrance to the cloisters, within the church, sits a priest who will bless your items.

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The Basilica is one in Italy that cannot be missed for its religious, historical and architectural significance.  Easily reached by public transport, it should be made a priority when visiting the Venice area.

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The Basilica of St. Anthony

  • http://www.santantonio.org/en/basilica
  • Piazza del Santo, 35123 Padova PD
  • Hours:  Weekdays, January 1-March 26, 0620-1845, March 27-October 29, 0620-1945, October 30-December 31, 0620-1845.  Saturdays and Sundays, 0620-1945
  • Admission:  no charge
  • Getting There:   http://www.trenitalia.com/  From Venice S. Lucia, Regional trains, €4,10, Other trains, €15,50-€17,00.  From Venice Mestre, Regional trains, €3,35, Other trains, €15,50-€17,00.
  • Getting There:  Padova Tram-stop Santo  http://www.igi.cnr.it/ish_rfp_ws2013/sites/default/files/attachments/map_bus_tram.pdf   One ride,  (inside the municipality of Padua) 75 minutes €1.20. Daily ticket, 4 rides valid for 75 minutes each, €4.70,  Carnet of 9 tickets for €10,  Carnet of 18 tickets, €20.00