In the urban landscape of Este, just beyond the historic center, there is a seventeenth-century sanctuary that still today represents a strong visual and spiritual landmark. Its origin is linked to popular devotion for a sacred image believed to be miraculous, painted on a pillar, which prompted the community to build a dedicated church.
Thanks to an extraordinary collective mobilization, the building was completed in record time between 1639 and 1641, despite initial difficulties and design modifications. It resulted in a sanctuary with an original shape, conceived from the beginning to be a recognizable sign in the territory.
The structure, with its octagonal base, stands out for its readability at 360 degrees, the absence of a dominant façade, and the compact volume that emerges as a luminous presence in the landscape. The white of the plaster and the two slender, octagonal twin bell towers with tall spires enhance its effect as an urban landmark. It is no coincidence that it has always been called “the Madonna di fuora,” due to its position beyond the ancient walls.
Isolated but progressively integrated into the city's growth, the sanctuary has also become a scenic backdrop for important road axes. The interior, austere and geometric, recalls Renaissance models, while the Baroque pictorial cycle by Antonio Zanchi and Antonio Fumiani enriches the space with intense and theatrical works, accompanied by the ex-votos of the faithful.
Today, the sanctuary combines architectural, artistic, and devotional value, telling the story of a community that has managed to transform faith into a shared urban heritage.
