Adjacent to the former monastery is the basilica church of Santa Giustina, initially built in the 6th century, but whose present form derives from a 17th-century reconstruction.

On 2 August 1052, workers putatively exhumed remains of various saints, including Maximus the Confessor, Felicitas of Padua, Julian the Hospitaller, and even some identified as the Holy Innocents.

In 1110 the abbey was sacked by the troops of the future Holy Roman Emperor Henry V during his invasion of Lombardy, in order to punish the monks for their loyalty to Pope Pascal II.

At the same time, the monks were led by a number of very spiritual abbots, such as Arnaldo of Limena, who died while imprisoned by Ezzelino III da Romano and is honored as "Blessed", as is Nicholas of Prussia.

[3] The buildings were returned to the Catholic Church in 1917 and Pope Benedict XV re-established the abbey with all its ancient rights and privileges.

The altarpiece is an 18th-century oil on canvas depicting Pope Gregory I invokes the aid of the Virgin to end the plague in Rome by Sebastiano Ricci.

The altar is very refined, decorated by brothers Corbarelli: it represents fountains, gardens and the unfinished façade of the basilica.

In the center, a 1313 monument that houses the relics of St. Luke the Evangelist, commissioned by the Abbot Gualpertino Mussato and originally erected in the Gothic chapel in 1562.

At the top is placed the sixteenth-century version – attributed to Alessandro Bonvicino – of the Virgin Salus Populi Patavini Constantinople.

The Byzantine icon of origin, according to tradition, painted by Saint Luke and brought to Padua to save from the iconoclastic fury of Constantinople, is now in a sanctuary in the monastery.

The altar was erected in 1681: Bernardo Falcone sculpted the angels and the statue placed above the urn that houses the relics of Blessed Arnaud.

Opposite, on the left wall, The Great Massacre of the Innocents by Sebastiano Galvano, signed by the mid-sixteenth century.

The vault above the altar is occupied by the representation of the Eternal Father, preceded by the Apostles, represented as if placed above the walls of the chapel, and attracted by the Eucharist carried in triumph by An angelic crowd.

It was completed in 1674 by Giuseppe Sardi and Josse the Court who fashioned the two angels worshipers while the bronze statues on the Tabernacle were cast Carlo Trabucco (1697).

On the sides, at the top, niches inside, two busts that ideally represent the two Roman patricians Vitaliano (right) and Opilione (left) works of Giovanni Francesco de Surdis of 1561.

Decorated with "Florentine" combining fine inlays of marble on which are placed pieces of mother-of-pearl, coral, lapis lazuli, carnelian, pearls and other precious materials.

The artist took charge of the architectural, decorative and sculptural design including the ceiling, adorned by an angelic stucco crowd.

The great space is dominated by two imposing canvases: on the right The mission of the Apostles (1631) of Battista Bissoni and Saints Cosmas and Damian saved by the angel (1718) of Antonio Balestra, this one comes from the Church of the Mercy.

Built in 1564 on the ruins of the ancient abbey church of the Middle Ages, it was designed to allow passage to the Sanctuary of St. Prosdocime of Padua.

The corridor, painted in the 16th and 17th centuries, is counter-vaulted and, in the middle, an octagonal space covered by a dome decorated with fresco by Giacomo Ceruti.

In the center there is the Well of the Martyrs: built on the orders of the abbot Angelo Sangrino in 1565 above the medieval well (still visible in the basement) which was in the middle of the nave of the original basilica.

In the west corner a piece of the mosaic decoration that adorned the floor of the opilionea basilica of the sixth century is still visible.

At the bottom an altar of the sixteenth century on a painting by Pietro Damini The discovery of the Well of the Martyrs and the miraculous power of the twelve candle count among the best works of the artist.

Also visible is a large iron cage, dating back to the Middle Ages, which contained the remains of Saint Luke.

The space is conceived on the plane of the Greek cross and is characterized by a very elegant awning composed of dome all painted in grotesque in the sixteenth century to replace the original mosaic decoration.

The arch placed on top of the altar (1682) contains the remains of Urio who was the guardian priest of the church of Santi Apostoli in Constantinople who saved the relics of St. Luke, St. Matthew, Icon of the Virgin of the iconoclastic fury bearing the whole until Patavium.

"The disarray of Santa Rachel" is by Giovanni Comin (1690); The two saints: James the Minor and John are attributed to Michele Fabris.

On the left wall a canvas in a lunette represents the same subject, this work is by Gaspare Diziani formerly in the Chiesa delle Terese.