The Architectural
Growth of the Monastery
The monastery’s architectural complex is like a mosaic of Cividale’s history. From the Lombard period to the present day, it has gone through many changes.
After the earthquake in 1222, which caused serious damage to the Tempietto and the Church of San Giovanni, the monastery entered a particularly lively period. From the mid‑13th century onwards, thanks to donations from visitors and the indulgences granted to those who came to the Tempietto, the nuns were able to begin important rebuilding and expansion works.
Under Abbess Gisla de Pertica (1242–1251), a new dormitory was built, and various other works were conducted in the Tempietto and in the Church of San Giovanni.
In the 15th century, the monastery underwent further major construction. In 1431, the cloister was rebuilt, and in 1497, a new structure with columns was added – possibly the one that corresponds to the present‑day eastern side of the cloister.
In the 16th century, after another earthquake in 1511, the monastery complex expanded towards the south and towards the town. The side facing the street on Via Monastero Maggiore was redesigned, incorporating the remains of the old medieval synagogue. In 1522, Abbess Relinta Formentini Cusano had a new entrance built. It was placed slightly off‑axis in relation to the Church of San Giovanni and is still used today as the way into the heart of the monastery.
Between the Renaissance and the 18th century, the monastery kept expanding, especially eastwards, until it occupied the entire area between Via Monastero Maggiore, the bank of the Natisone River, Piazza San Biagio, and the gateway of Porta Brossana, reaching as far as the level of the Cathedral on the western side.
The most remarkable changes, however, took place in the first twenty years of the 18th century. The master builder Luca Andrioli redesigned entire wings of the complex: the dormitory was raised, the Church of San Giovanni took on its current appearance, and the refectory was rebuilt with ceilings decorated with stucco and frescoes depicting the Annunciation and episodes from the lives of Saints Scholastica and Benedict. The style reflects the influence of the local Baroque artist Quaglio.
It was during this period that the complex reached its greatest size, followed by two centuries of decline, a fate shared by many religious institutions. Even so, it never lost its importance or its role as a historical, artistic and cultural hub for the area.
