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 origins are 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 changes. This resulted in a sanctuary of original shape, conceived from the outset to be a recognizable sign in the area.
The layout, based on an octagon, stands out for its visibility from 360 degrees, the absence of a dominant facade, and the compact volume that emerges as a luminous presence in the landscape. The white of the plaster and the two slender, octagonal bell towers with pointed spires enhance its effect on the urban skyline. It has not been coincidental that it has always been called “the Madonna di fuora,” due to its position beyond the ancient walls.
Isolated yet progressively integrated into the city's growth, the sanctuary has also become a scenic backdrop for important roadway 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, alongside the votive offerings of the faithful.
Today, the sanctuary combines architectural, artistic, and devotional value, telling the story of a community that has been able to transform faith into a shared urban heritage.
