Church of St. Anthony of Padua stands as a bastion of serenity and devotion. This imposing red‑brick basilica – Istanbul’s largest Roman Catholic church – rises on No. 171 İstiklal Avenue in Beyoğlu. Its towering spires, flanked by Gothic‑style pinnacles and a vast rose window, proclaim an architectural lineage more Venetian than Ottoman. Yet inside, as sunlight filters through multicolored glass, the sanctuary becomes a muted oasis: low murmurs of prayer and candlelight replace the city’s clamor. Every stone and arch is steeped in history, and the atmosphere is one of reverence and quiet wonder. Across the centuries, Istanbul’s Franciscans and Italian‑Levantines have regarded St. Anthony’s as a symbol of their enduring presence in this city.

A Journey Through Time: The Rich History of the Church of St. Anthony of Padua

The roots of St. Anthony’s story reach back to the dawn of the 13th century, when Franciscan friars first arrived in Constantinople. In 1221 the Franciscan Order established a small chapel near Galata, known as the “Latins’ Hagia Sophia,” which for centuries served the city’s tiny Catholic population. For the remainder of the Middle Ages this modest church was virtually the only Catholic house of worship in the capital – surviving two great fires in 1639 and 1660. It was only in the early 1700s that the local Italian (Levantine) community felt secure enough under Ottoman rule to commission a larger church. Thus in 1724–1725 a new wood‑and‑stone church of St. Anthony of Padua was erected on the Grand Rue de Pera (today’s İstiklal Caddesi). This 18th‑century church, financed by Genoese and Venetian merchants, became the center of the Catholic Levantine quarter.

However, fires and urban change repeatedly required rebuilding. In 1762 a blaze destroyed the 1724 church, which was promptly reconstructed (its façade for the first time abutted the Grand Rue). Then, most devastatingly, the Great Fire of Pera in 1831 swept through Beyoğlu. Saint Anthony’s was again gutted; its once‑familiar silhouette reduced to ruins. In its aftermath, records note that “Saint Anthony, rebuilt after the 1831 fire”, boasted the first free-standing church belfry erected in Istanbul since Byzantine times – a bold symbol of renewal. This middle 19th‑century church served the community until the dawn of the 20th century, when urban modernization demanded yet another transformation.

At the turn of the century, the vibrant Italian‑Levantine community (then about 40,000 strong in Istanbul) resolved to replace the aging church with a grander basilica. Under pressure to widen İstiklal for a new tramline, the old structure was demolished in 1904. In 1906 the commission was entrusted to Giulio Mongeri and Edoardo de Nari, two Italian architects who had settled in Istanbul. Over the next six years they constructed the present St. Anthony’s, on the same site, in a flamboyant Venetian Neo-Gothic idiom. When the new basilica was consecrated in 1912, it immediately became the pride of the Levantine Italians: a “fine example of the Italian neo-Gothic and Tuscan-Lombard styles”, with a Latin‑cross plan inspired by the cathedrals of Padua and Venice.

The Consecration and Early Years of the New Church

From its 1912 opening, St. Anthony’s served as a civic and religious hub for Istanbul’s Latin Catholics. In the final years of the Ottoman Empire it was known simply as Sant’Antonio di Padova, the Franciscan church of İstiklal. By World War I, it had been placed under the Apostolic Vicariate of Constantinople (later Istanbul). The Vatican’s envoy, Archbishop Angelo Giuseppe Roncalli (later Pope John XXIII), chose St. Anthony’s as his residence in the 1930s. For a decade he served as the parish’s leading priest – preaching in Turkish and fostering goodwill between faiths. Roncalli’s profound connection to the church is memorialized by a bronze statue of him in the courtyard (unveiled by Pope Benedict XVI in 2006).

The new Turkish Republic brought political changes but did not alter the church’s mission. As Istanbul’s Italian community gradually shrank over the 20th century, St. Anthony’s remained a bastion of Latin rite worship. In 1932 it was elevated to the status of a minor basilica by Pope Pius XI, the only basilica of Istanbul’s Latin Church. Throughout the mid-century, despite wars and population shifts, its Masses continued largely in Italian and French (the languages of its congregation), with friars from Italy and the Levant officiating. Only in the late 20th century did Turkish and English Masses become regular offerings, reflecting a slowly diversifying flock of local and expatriate Catholics.

The Architectural Brilliance of Giulio Mongeri: A Deep Dive into the Neo-Gothic Design

St. Anthony’s neo-Gothic appearance was the deliberate choice of its Italian planners. Giulio Mongeri, born in Istanbul of Levantine heritage, was one of the era’s most prominent architects (his later works include Nişantaşı’s Maçka Palas and the Türkiye İş Bank headquarters in Ankara). Mongeri and his partner Edoardo de Nari envisioned a “statement of faith” for the Italian community – something that would stand out from the city’s Ottoman and Byzantine churches. They drew on a Venetian Gothic vocabulary, reminiscent of Padua’s great St. Anthony’s Basilica and the Doge’s Palace in Venice. The result is a red‑brick basilica in Latin-cross plan, with two corner bell towers and a broad main façade.

The exterior is a symphony of Gothic motifs. Vertically oriented, it features tall lancet windows and a soaring central rose window above the main entrance – an “impressive organ” of colored glass that catches the afternoon sun. Each of the three portals is surmounted by an ornate gable, and slender buttresses rise up to pierce the eaves. Although richly ornamented, the design remains balanced and harmonious. The architects used reinforced concrete for the structure (a modern marvel at the time), clad in brick and stone to mimic medieval Italian cathedrals. Even the statues atop the façade (saints and angels) and the carved wooden portals reflect Venetian influence. In its overall effect, the basilica’s front suggests a piece of the Veneto plunked down on the Continental street of İstiklal.

Inside, the church’s Latin cross layout becomes apparent. A long central nave is flanked by lower side aisles, and the ceiling vaults gently overhead. The enormous wooden roof trusses are hidden above a coffered ceiling, giving an impression of airiness. A hint of Oriental influence is seen in the use of Iznik‑style turquoise tiles at the apse; legend has it these were donated by a Sultan. Acoustically, the high vaulted ceilings and tiled floor make the interior surprisingly resonant – in fact, the basilica boasts an Italian-made pipe organ (by Vincenzo Mascioni) dating to 1949, whose voice fills the nave during solemn services. Light enters primarily through the stained glass and a great rosace at the front, lending the interior a gem-like atmosphere even on a cloudy day.

One of the most striking technical achievements is the building’s use of reinforced concrete, especially in the stately adjoining apartment blocks that flank the church court. These six-story buildings – erected simultaneously to finance the church – were among İstiklal’s first concrete structures. Their slender pillars and brick facings allow a portico below, while their solid mass helps stabilize the courtyard. Together, the church and its annexes create an imposing ensemble: an urban “campus” of faith and community on Istanbul’s main avenue.

A Treasure Trove of Sacred Art: The Interior and Its Masterpieces

Stepping into St. Anthony’s is like walking into a vast reliquary of devotional art. The focal point is the high altar, set against the apse wall. It is carved from white marble and gilt wood, crowned by a radiant backdrop of mosaics. Before it stands a gilded wooden statue of St. Anthony, his face gentle, the Child Jesus in one arm (a nod to the saint’s famous vision). This statue was sculpted by Luigi Bresciani, a Venetian artist who labored in Istanbul – the same craftsman who carved the main crucifix above the altar. Light from the stained-glass rose window paints the marble in dusty reds and blues, animating the sacred tableau.

On the walls at the sides of the apse, two vast mosaics capture key Gospel scenes. One depicts the Supper at Emmaus: Christ breaking bread with astonished disciples. The other shows the Baptism of Jesus in the Jordan. Tiny tiles in pearl and gold form a shimmering narrative that only resolves into familiar figures up close. These mosaics, executed in Istanbul by Italian workshops, were highlighted by the Basilica’s first curator and remain among Turkey’s finest 20th-century glass artworks. Smaller side altars hold marble statues of St. Francis and St. Clare, recalling the Franciscan heritage.

One enters through the narthex to find, above the doorway, the organ loft. The Mascioni pipe organ (installed in 1949) itself is a sight: its carved wooden casework and gilding complement the church’s decor. On the north wall near the front is a marble Holy Family by a Genoese sculptor. Throughout the nave, one can also spot portraits of past friars and bishops, and a prominent bust of St. Maximilian Kolbe (1930s‑born Polish martyr) by sculptor Sermin Güneş. These pieces underline the church’s ongoing connection to Franciscan saints and modern Catholic history.

Beneath the main sanctuary lies the crypt. This lower level, entered by steps behind the altar, serves as a chapel for smaller services and houses the tombs of beloved priests and benefactors. Its walls are more subdued, with simple altars and memorial plaques in marble. Though not open to casual visitors except during special occasions, the crypt emphasizes continuity: buried here are earlier parish leaders whose memory the community reveres.

The Cultural and Spiritual Significance of St. Anthony of Padua

For over three centuries, St. Anthony’s has been far more than bricks and mortar to Istanbul’s Latin Christians – it has been the heart of their community. In the 19th and early 20th centuries, the church and its adjacent schools, convents and homes formed a mini‑city for the Italians, Genoese and Levantines of Pera. It was the site of baptisms, weddings and funerals for generations of families whose names are in the city’s archives. Beneath the modern Turkish name Sent Antuan Kilisesi still echoes the Italian heritage. Even today, many elder Turks remember the seasonal festivals and concerts held on the church grounds; its bells and carols once mingled with the call to prayer on the hill.

St. Anthony’s symbolizes religious pluralism in secular Turkey. Istanbul is dotted with mosques, but the presence of this Catholic basilica on its busiest street underscores an Ottoman legacy of faith diversity. The guardian friars and parishioners – now mostly of mixed Turkish, Italian, Polish and English-speaking backgrounds – often play an interfaith role. On Christmas and Easter, Turkish neighbors come to watch the elaborate Crèche scenes displayed beneath Christmas trees in the transept. During Ramadan evenings, one sometimes hears the church organ quietly playing from the patio. As one Istanbul journalist observes, “Istanbul is a city that hosts many churches… Saint Anthony is one of the largest and most significant churches in Istanbul, located in the middle of İstiklâl Avenue with impressive architecture. It is also easily accessible to everyone”. In this way the basilica stands as a modest yet potent testament to the city’s ethos: a Catholic church proclaiming peace in the heart of a Muslim-majority metropolis.

The statue of Pope John XXIII in the courtyard offers another dimension of significance. Roncalli’s decade-long tenure here (1935–1944) established an emotional bond: he learned Turkish and became beloved locally. In 2006 Pope Benedict unveiled a bronze statue of St. John XXIII at St. Anthony’s, cementing the church’s place in Catholic memory. Today the feast of St. Anthony (June 13) is marked by special liturgies that attract diverse crowds, and every 12th of each month pilgrims in Istanbul celebrate the feast of John XXIII. Thus the church serves as a living link between Istanbul’s past and its present Catholic community.

Your Essential Guide to Visiting the Church of St. Anthony of Padua

Planning Your Visit: Everything You Need to Know

The church’s address (İstiklal Caddesi 171) places it on the middle stretch of the great avenue. To reach it from Taksim Square, simply head west along İstiklal toward Galatasaray; after a few minutes on foot, the yellow‐red brick basilica will appear on your left. It stands opposite the old Russian consulate and just a stone’s throw from Galatasaray High School. The metro (M2 line) at Taksim or the historic Tunel funicular (to Karaköy) will both drop you within a short walk of the site.

The church is open to the public daily from 09:00 to 19:00. (On Sundays and holy days, opening may be slightly earlier and closing a bit later around Mass times.) There is no admission fee; the basilica operates by goodwill offerings. Visitors are welcome to wander the nave and aisles at leisure outside of service times. Morning light (around 10:00–12:00) is especially favorable for interior atmosphere, and early evening can be lovely for exterior photos as the façade warms to sunset. Avoid visiting during the weekend Masses if you wish for quiet viewing; instead consider weekday mid-morning or late afternoon for fewer crowds.

There is no official guided tour run by the church, but multilingual information panels are placed discreetly near the entrances. Several travel guide companies offer group tours of Beyoğlu that include St. Anthony’s, though these are non‑liturgical. A visit typically takes 15–30 minutes unless one attends a Mass, so it easily fits into a half-day itinerary of the district.

Attending Mass at the Church of St. Anthony of Padua

For Catholics or curious observers wishing to attend, St. Anthony’s maintains a full schedule of Masses in multiple languages. On Sundays it offers four principal services: typically an English Mass in the morning, an Italian Mass at mid-morning, a Polish Mass in the lower crypt or chapel, and a Turkish Mass in the evening. For example, at present (summer schedule) the times are 10:00 English, 11:30 Italian (main church), 11:30 Polish (crypt), and 19:00 Turkish on Sundays. During the week there are daily Masses as well: English in the early morning (08:00) and Turkish in the evenings (19:00). These accommodate both the expatriate community (English, Italian, Polish) and local faithful (Turkish). All are ordinary rite Roman Catholic services; as a visitor you can follow along from the pews. The liturgy is reverent but warm, and most priests are happy to answer brief questions in person after Mass (though keep any lengthy discussions for outside the church).

Before attending, note that modest dress is expected. As a place of worship, shoulders and knees should be covered and hats removed. Photography is allowed in the church when services are not in progress (flash off); please be discreet and turn off any camera sounds. The church kindly posts a notice requesting silence and respect during liturgies. Like any Catholic basilica, one may venerate the saint by brief prayer at the altar of St. Anthony or by lighting a candle in the designated votive stand.

Visitor Etiquette and Photography Guidelines

To preserve the solemnity of St. Anthony’s, visitors should observe quiet, respectful behavior. Talking should be hushed inside; it helps to keep one’s voice down and step outside to converse. Mobile phones should be turned off or muted. Typical church etiquette applies: do not lean on the pews or touch the sacramental objects. Candles may be lit (a donation box is provided) when not in use during Mass. Photography of the architecture and artwork is encouraged – after all, the basilica is a photographer’s delight – but flash can be disruptive and is best avoided. Most guidebooks advise against photographing congregants without permission, especially during worship. Finally, note that Istanbul law forbids wearing clerical collars or ostentatious religious garb on the streets; priests arriving for services will often just wear simple black suits. This is not an issue for visitors, but an interesting reflection of Turkey’s secular regulations.

Beyond the Basilica: Exploring the Courtyard and Surrounding Buildings

One should not overlook St. Anthony’s peaceful courtyard as one enters. A gravel path leads under an arched gate to a tranquil walled garden shaded by cypresses. In the center stands a life‑size bronze statue of Pope John XXIII (Archbishop Roncalli). The Pope is depicted smiling and holding a walking stick, his broad familial smile as warm as the welcome he gave the people of Istanbul. Locals come to pray quietly at this statue, especially on his feast day (October 11). The courtyard also contains a small shrine to the Virgin Mary and seasonal decorations (each Christmas a Nativity scene is set up here, complementing the interior crèche).

Flanking the church court on either side are the Saint Antoine Apartments – two six‑story blocks built in the early 20th century to house the Franciscan friars and generate rental income. These buildings, done in the same Venetian Gothic spirit, were noteworthy as İstiklal’s first large reinforced‑concrete structures. The west block was once home to a famous venue: the Concordia Tiyatrosu, a theater where Istanbul’s Italians gathered for opera and plays. (The theater itself, named after Vienna’s first opera house, was demolished for the tramway at the same time as the original church.) Today the apartments contain modest parish offices and living quarters, and their rental shops face the street as always.

Just outside the church complex, the neighborhood offers more to see. Across the street rises the former Russian Embassy, an elegant 19th-century mansion now a consulate. A short walk north brings you to the Church of St. Mary Draperis (a smaller Baroque Catholic church) and then to the Galatasaray Lisesi, Istanbul’s storied high school. In other directions: to the east is Taksim Square; to the west is the Tunel and historic Galata. In other words, St. Anthony’s lies at the crossroads of Beyoğlu – a stone’s throw from monuments of Ottoman, European and modern Turkish history alike.

St. Anthony of Padua: The Life and Miracles of the Patron Saint

It is fitting that this grand basilica is dedicated to St. Anthony of Padua (Lisbon 1195 – Padua 1231), one of Catholicism’s most beloved saints. Born Fernando Martins de Bulhões, he came from a noble Portuguese family but renounced wealth to join the Franciscans. He earned renown as a brilliant preacher and prodigious scholar of Scripture. In 1231, at only 36 years old, he died after returning from a mission in northern Italy. So swiftly did people revere him that by May 1232 – less than one year later – Pope Gregory IX canonized him. In 1946 Pope Pius XII declared him a Doctor of the Church.

Legend and devotion have attached dozens of miracles to St. Anthony’s name. He is perhaps best known as the patron saint of lost things. According to tradition, a treasured book of psalms of his was stolen; Anthony prayed, the thief repented, and the book was miraculously returned. Ever since, seekers of lost items invoke St. Anthony’s help. Devotees around the world “think of St. Anthony as the ‘finder of lost items,’” and he is credited with miracles “involving lost people, lost things and even lost spiritual goods”. Beyond that, countless stories of healings, provision of food, and peacemaking are told. His love for the Child Jesus – often depicted in art – stems from a vision he experienced (as recorded by Franciscan chroniclers).

In art and statuary, Anthony appears here at the high altar with the infant Jesus and a lily, symbolizing his purity and teaching. After his death, donations in his name became known as “St. Anthony’s bread” – alms given to the poor in thanksgiving for favors received. A famous early miracle at his tomb involved a drowned child restored to life, fostering the tradition of charity in his name. All of these associations – lost objects, marital harmony, healing the sick and poor – make him an ever-appealing intercessor. It is no wonder that the faithful who step through this Istanbul basilica often lay prayers at his altar: he spans Lisbon and Padua in history, yet here in Pera he is a neighborly friend.

A Comparative Look: St. Anthony of Padua and Other Major Churches in Istanbul

To appreciate St. Anthony’s uniqueness, it helps to compare it with other notable Istanbul churches. Within the Latin Catholic tradition, the Cathedral of the Holy Spirit (Saint Esprit – Harbiye) is often mentioned. Built in 1846 by the Fossati brothers, that edifice is much smaller and designed in a restrained 19th‑century Romanesque-Baroque style. Hidden behind a gated courtyard (opposite Notre Dame de Sion school), St. Esprit is indeed architecturally accomplished, but its interior is far plainer than St. Anthony’s Gothic splendor. Whereas Holy Spirit’s pilastered nave and semi‑dome apse feel solid and calm, St. Anthony’s nave soars and sparkles. Moreover, St. Anthony’s placement on İstiklal makes it far more visible and accessible to passersby than the off‑street Esprit.

Among the Christian congregations of Beyoğlu, the Greek Orthodox Church of the Holy Trinity (Aya Triada) and the Armenian Church of the Holy Mother of God (Surp Asdvadzadzin) are near neighbors. These Eastern churches are built in Byzantine revival style: they feature round domes, extensive iconography and gold mosaics. In contrast, St. Anthony’s Gothic arches and stained glass could not be more different. Liturgically also they differ: the Orthodox churches, like Aya Triada (completed 1880s), use the Byzantine liturgy and have iconostases, while St. Anthony’s follows the Latin rite with an open altar facing the people. Visually and spiritually, St. Anthony’s basilica stands out as a piece of Western Europe in the midst of Istanbul’s mosaic of faiths. In sum, whether one contrasts it with its Latin Catholic cousin of Harbiye, or with the Orthodox and Armenian churches of Pera, St. Anthony’s is singular in style and community role.

Preserving a Legacy: Conservation and Restoration Efforts

Maintaining a structure of this size and age in a busy metropolis is an ongoing challenge. The church sits in an earthquake zone and is exposed to traffic pollution, so structural upkeep is critical. Over the decades, restoration projects have addressed both the exterior masonry and the interior artworks. For example, recent efforts have cleaned and repaired the stained-glass windows and restored the gilded statue of St. Anthony after wear. The marble altars and mosaic panels have been periodically conserved to counter humidity and fading. The reinforced‑concrete annexes were sealed to prevent corrosion of their steel, ensuring the courtyard walls remain sound. Although detailed records of every repair are scarce, parish archives note major campaigns in the 1970s and early 2000s to reinforce the roof trusses and re-point the brickwork.

Looking ahead, the basilica’s caretakers plan gradual preservation: a new layer of protective coating for the brick façade, and improved lighting to showcase the interior art without UV damage. The supporting apartments, now aging, also require sympathetic renovation to preserve their historic façades. Each project is undertaken in consultation with Istanbul’s cultural heritage authorities, to balance modern methods with respect for the original design. Thanks to these efforts, the church remains remarkably vibrant: as one recent visitor observed, “Although over a century old, St. Anthony’s looks almost timeless – as if it could have been taken from an Italian city and placed on Istiklal only yesterday.”

Frequently Asked Questions About the Church of St. Anthony of Padua

What is the story of the Church of St. Anthony of Padua? As described above, the Catholic Franciscans first built a modest chapel in 1724–25 on this site. That wooden church was destroyed by fire and by urban development in 1904, and was replaced by the current Neo‑Gothic basilica consecrated in 1912. The new church was constructed by the Italian community (40,000 strong at the time) under architect Giulio Mongeri, who gave it its red‑brick Venetian Gothic appearance. Since then it has hosted generations of faithful and undergone only renovations to preserve its original form.

Is the Church of St. Anthony of Padua Catholic or Orthodox? It is a Roman Catholic church – in fact the largest Catholic church in Istanbul. It was founded and is run by the Franciscan Order. It has never been Orthodox; nearby on İstiklal there are Orthodox and Armenian churches, but St. Anthony’s is and always has been Latin Rite.

Can you go inside the Church of St. Anthony of Padua? Yes. The basilica is open to visitors every day from about 09:00 until 19:00. One may freely enter and pray or admire the architecture outside of Mass times. No advance permission is needed. During Mass, the space is of course reserved for worship, but one can usually enter a few minutes before or after to light a candle or venerate the statue of the saint.

What is the entrance fee for the Church of St. Anthony of Padua? There is no admission fee. Entry is free (the church relies on voluntary donations). Visitors are encouraged to give a small alms offering in the box near the exit if they wish, but it is not mandatory.

What are the Mass times at the Church of St. Anthony of Padua? The church offers multiple Sunday Masses in different languages. Currently the typical schedule is: Sunday – 10:00 English, 11:30 Italian (upper church) and 11:30 Polish (in the crypt), and 19:00 Turkish. Weekdays – 08:00 English (Mon–Sat) and 11:30 Turkish on Tuesday, plus an 19:00 Turkish service (Tue–Sat). Times can vary by season, so it’s wise to check the official parish notice or website for any updates.

Who is the architect of the Church of St. Anthony of Padua? The church was designed by Giulio Mongeri (a Turkish-born architect of Italian descent) and Edoardo de Nari. Mongeri is credited with most of the design; he modeled the exterior on Venetian Gothic precedents and oversaw construction from 1906 until the opening in 1912.

What is the architectural style of the Church of St. Anthony of Padua? It is built in Venetian Neo-Gothic style, with influences of Tuscan-Lombard Romanesque. Its red-brick façade, pointed arches, and ornate rose window are hallmarks of Gothic revival, but with Italianate details (for instance, the façade’s white stone bands and multicolored brickwork reflect Tuscan Gothic). In short, it was intended to evoke the medieval churches of northern Italy.

Why is there a statue of Pope John XXIII at the church? Angelo Roncalli (later Pope John XXIII) served as the Vatican’s Apostolic Delegate (ambassador) to Turkey and lived at St. Anthony’s from 1935–44. He came to love Istanbul and spoke Turkish fluently. Thus the parish honors him with a statue: he inaugurated the church in local memory as a beloved pastor. Pope Benedict XVI dedicated the bronze statue in 2006 as a sign of Roncalli’s connection to the church.

What is the significance of the Church of St. Anthony of Padua for the Italian community in Istanbul? For the old Levantine-Italian society of Pera, St. Anthony’s has been their spiritual home. In the early 20th century it was constructed by the Italian community (mostly Genoese and Venetian merchants) as a statement of presence. It hosted Italian weddings, funerals and social events, and Italian was the everyday language of the parish. Even today, the church preserves Italian traditions (for instance, the feast of St. Anthony is celebrated in Italian style), and many of the priests are Italian. In sum, it stands as a symbol of centuries of cultural exchange between Italy and Turkey, and as a rallying point for Catholic Europeans in Istanbul.

What other historical sites are near the Church of St. Anthony of Padua? The church sits in the historic Pera district. A few steps away are: the Church of St. Mary Draperis (another Catholic church, built 1678–1769); the former French and Russian consulates (impressive 19th‑century mansions); and Galatasaray High School (the 19th‑century “Galata Sarayı”). A block north is the Monument of the Republic (Taksim). To the south on İstiklal stand the British consulate and, a short walk away, the bustling Tunel square (with its historic funicular). The famous Galata Tower is within 1 km to the southwest. Thus, visitors to St. Anthony’s are within easy walking distance of nearly all Pera’s key landmarks and historic streets.

Is the Church of St. Anthony of Padua worth visiting? Absolutely – especially for those interested in architecture, art or religious history. St. Anthony’s is unique in Istanbul: nowhere else in the city will one find such a large and unaltered example of Italian Gothic architecture. Inside, the combination of light, color and melody (from the organ) can be deeply moving even to non‑believers. Many travelers say the peaceful feeling inside is a welcome contrast to Istanbul’s frenetic streets. If your itinerary includes Beyoğlu, a detour into this splendid basilica will deepen your understanding of the city’s plural heritage.

Can I light a candle in the church? Yes. A stand of votive candles is provided on the left side of the nave. Visitors may purchase candles (typically a small donation per candle) and light them as a prayer or remembrance. (The parish kindly asks that flame be extinguished before leaving the church.)

Are there guided tours available? The church does not offer its own guided tours. However, many local tour companies include St. Anthony’s as a stop on walking tours of Beyoğlu. Inside the church you will find multilingual handouts, and posted explanations at key artworks. Some months (especially summer) professional guides may be found volunteering, but for the most part one explores at one’s own pace. Audio guides are not provided by the parish, but several travel apps and guidebooks include detailed commentary about the church’s art and history.