Sveta Eufemija
Petra Stankovica 52210
The Church of St. Euphemia (Crkva sv. Eufemije), often referred to as the Cathedral of Saint Euphemia due to its prominence, is a majestic Baroque basilica crowning the highest point of Rovinj's historic old town in Istria, Croatia. Perched on a rocky hilltop overlooking the Adriatic Sea, this three-nave structure dominates the town's skyline with its 60-meter bell tower, which bears a copper statue of the saint that rotates like a weather vane. Built between 1725 and 1736 on the ruins of earlier churches dating back to early Christian times, it measures 51 meters in length and 30 meters in width, serving as the parish church and spiritual heart of Rovinj. Dedicated to St. Euphemia, the city's patron saint, it houses her revered relics and a treasury of artworks, blending religious devotion with artistic splendor. As a key landmark in the UNESCO-nominated old town, it attracts pilgrims and tourists alike, offering not just worship but panoramic views extending to the Alps on clear days.
The site's sacred history unfolds over centuries, reflecting Rovinj's
evolution from a Roman castrum (Cissa) to a Venetian stronghold. Early
Christian worship began here in the 5th-6th centuries, with a small
single-nave church dedicated to St. George amid other chapels to St.
Ursula, St. Roch, and St. Michael. A pivotal legend from the 10th
century recounts how fishermen, caught in a storm, prayed to St.
Euphemia; in response, her sarcophagus washed ashore, drawn by oxen to
the hilltop—a miracle confirmed by a vision to a doubter. This prompted
the construction of a larger three-nave basilica with apses and wooden
statues of St. George and St. Euphemia, expanding to accommodate
pilgrims.
By the 15th century, the church featured a gilded stone
statue of the saint and a Roman sarcophagus (III-IV century AD, adapted
in the 15th) containing her relics, which had been stolen by Genoese
pirates in the 8th century and recovered via Venetian intervention. The
17th century brought prosperity from trade, necessitating expansion;
neighboring churches were demolished, and reconstruction began on
December 8, 1720, under Venetian architect Giovanni Scalfarotto,
continuing under Giovanni Dozza until completion in 1736. The bell
tower, started in 1654 by Milanese architect Antonio Manopola and
finished by Cristoforo Bellan in 1687, was crowned with the copper
statue in 1758 (restored 1993). Recognized as "insignis" in 1747 and
solemnly consecrated in 1756, the facade was added in 1883 by Leonardo
Riga, who also painted murals. The church endured Venetian rule (until
1797), Austrian, Italian, and Yugoslav periods, with recent restorations
(e.g., 2013 paintings) preserving its legacy amid 20th-century
upheavals.
Exemplifying Istrian coastal Baroque, the church's design harmonizes
grandeur with functionality, using local white limestone for seismic
resilience. The longitudinal three-nave basilica features a higher
central nave (17.71 m) flanked by lower aisles (10.11 m), divided by two
rows of six arcades on five pillars, creating rhythmic spatial flow
toward the altar. Perimeter walls boast pilasters and four side altars
each, amplifying Baroque dynamism through grey stone contrasts and
longitudinal emphasis. The main altar (Blessed Sacrament and St.
Euphemia), crafted 1739-1741 by Venetian Giacomo Laureato, includes
statues by Alvise Tagliapietra, Ambrogio Tagliapietra, and Giovanni
Marchiori.
The bell tower, at 58-61 meters and 9 meters at the base,
mirrors Venice's St. Mark's campanile with its loggia, balustrade, and
pointed spire, offering 360-degree views via internal stairs.
Internally, treasures abound: the 15th-century gilded St. Euphemia
statue; her Proconese marble sarcophagus with a 1953 wax mask; a 1777
silver tabernacle by Angelo Scarabello depicting "Supper at Emmaus";
Gothic 15th-century statues; and 16th-17th-century paintings like Pietro
Pergolis's "Last Supper" (1574, Tizian-influenced) and "Prayer on the
Mount of Olives" (Tintoretto-inspired), restored 2013. Ceiling frescoes
show her coronation, while wall murals by Riga (1883) illustrate the
sarcophagus's arrival and martyrdom. A 1754 pipe organ by Antonio
Barbini enhances acoustics for masses and concerts. The south facade,
partially stoned in 1780 and completed 1861-1865, integrates seamlessly
with the hill's contours.
As Rovinj's spiritual and visual anchor, the Church of St.
Euphemia embodies the town's Byzantine-Venetian heritage, its relics
drawing annual pilgrims for the saint's feast (September 16),
processions, and blessings. Architecturally, it's Istria's finest
Baroque example, influencing regional design and symbolizing
resilience—its hill, "Batana" (from batta, meaning boat), ties to
maritime lore. Culturally, it enriches Rovinj's UNESCO old town
candidacy through artworks reflecting Renaissance masters, fostering
identity amid tourism.
For visitors in 2025, the church is at Trg
Sv. Eufemije, a 5-minute climb from the harbor via cobblestone
paths—wear sturdy shoes for the incline. Open daily: April 10 AM–2
PM; May 10 AM–4 PM; June–September 10 AM–6 PM (masses may extend
access; confirm via parish). Entry is free, though donations support
upkeep; the bell tower climb (€2-3, ~100 steps) offers vistas but is
not wheelchair-accessible (steep stairs, uneven terrain limit
mobility). As of September 17, 2025, no closures noted, but summer
crowds peak—visit early or off-season. Guided tours (€10-15) via
Tourist Office (+385 52 811 566, to-istra@rovinj-istria.hr,
www.inforovinj.com) include relic insights; pair with nearby Batana
Museum for context. Photography permitted inside; respectful attire
required during services.