| The origin of the church of Sant’Antonio da Padova and the convent dates back to the end of the 15th century. They were built by the Frati Osservanti of Franciscan inspiration. The convent was dedicated to Santa Maria delle Grazie, while the adjacent church was named after Santo Stefano. During the 19th century, the sacred building would then be named after Sant’Antonio da Padova.
The church was originallya late Gothic building which was then altered during the course of the centuries. The proof of its ancient origin is confirmed by the epigraphic engravings placed in the arches' intrados, the third on the left and the first on the right mark respectively the dates of 1499 and 1500.
Even after all the various renovation works, the inside of the church maintains a clearly marked Medieval plan with ogival arches which divide the three aisles, and imposing columns adorned by capitals with lions’ heads and acanthus’ leaves. In the right hand aisle the medieval details of the architectonics lines as well as some frescos’ fragments are still preserved. On the contrary, the left hand side aisle has been enlarged and rebuilt from scratch during the 17th century. Here are kept the Baroque altars built in stone as well as in wood.
Inside are kept two sculptures by Stefano da Putignano, depicting Santo Stefano Protomartire and Sant’Antonio da Padova and the canvas placed on the high altar portraying La Madonna delle Grazie e Santi, by Leonardo Antonio Olivieri, who is considered the most eminent painter of Martina’s Baroque.
The façade is a hybrid with elements both classical and of Baroque’s inspiration. There is a perfect symmetrical scan of its various parts.. The portal has a strong classical influence, and a spandrel supported by four Ionic order coupled columns; the fastigium has a curvilinear trend with torches with more synthetic shapes compared to the ones typical of Martina’s Baroque. |