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To live in Church of Saint Maria Assunta

It is the most ancient evidence of Christian faith in Marostica. Most likely a baptismal church for the territory dating back to the Middle Ages, it became the church of the first early settlement of Marostica (the Pieve-Giara borough) at the foot of the Pauso hill, a place already inhabited in the pre-Roman and Roman age. A center of dissemination of the Gospel, in the XIII century it was an archbishop (primary) church which many other secondary churches scattered around the territory depended on. It underwent a radical reconstruction and enlargement in the last years of the 1600s thanks to the industrious priest, father Gaspare Ghirardelli (an inscription in the church indicates the exact point at which the old church finished and where the construction of the new one started). It was consecrated in 1701. This innovative action gave the church its current configuration with a baroque façade. The three doors with bronze tiles that date back to 1979-1985 and narrate episodes of the Bible, as well as of the life of Christ and of the Virgin Mary, are by the artist from Marostica Gigi Carron (1926-2006) and of great artistic interest. The bell tower, erected in 1711, was enriched by a precious sundial and by a clock that dates back to 1727, a fine piece by Bartolomeo Ferracina.

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The interior

The three naves are the result of the reconstruction action at the end of the 1600s. The church has eight altars. The majoraltar is in Baroque style and can be attributed to the Marinali school (XVII century). It was once embellished, according to Giovanni Battista Verci, by a painting by Alessandro Maganza, currently replaced by a copy of the upper part of Tiziano’s Assunta, a work of the painter Giuseppe Fortunato Centazzo (XIX century). On both sides of the choir, worth of notice are the two canvases by Andrea Celesti (Venice 1637- Toscolano 1712) depicting The Appearance of the Eternal God before King David and Melchizedek’s Sacrifice. The frontals of the altars of Our Lady of Sorrow and of Our Lady of Lourdes are also of high quality and wonderfully made. The canvases in the three compartments of the ceiling are attributable to Bartolomeo Dusi (1833-1904) who is also the author of the Transfiguration on the vault of the
choir. The canvas depicting Christ in the garden is a work by Pietro Menegatti (1809-1848) and the Baptism of Christ was painted by friar Felice Cignaroli. Of particular interest, located in the northern wall of the left-side nave, is a relief in marble depicting the Madonna with the Christ Child from the Sansovino school, a votive offering donated by Prospero Alpini (1553-1616) as a sign of gratitude for his return from the journey to Egypt.

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