The Certosa di Pavia will be managed by the Ministry of Culture

From January 1, 2026, a historic date will mark the future of the Certosa di Pavia, a symbolic site of late-medieval and Renaissance Lombard art, which for the first time since its foundation in the 14th century will no longer host a resident monastic community. The Cistercian monks of the Casamari Congregation, who since 1968 had safeguarded the complex on a daily basis, have decided to leave the site, signaling the end of an unrepeatable season and the beginning of a new era of fully public management. From that day forward, the administration of the imposing monument will be entrusted solely to the Ministry of Culture, through the Regional Directorate of National Museums of Lombardy.

The handover between the millenary religious tradition and the new institutional governance brings with it mixed emotions: sadness and regret for the departure of the monastic community, but also trust in the Ministry’s ability to preserve and promote one of the most visited emblems of historic Lombardy. In a statement by the Regional Directorate, the “deep regret” is emphasized for a choice made autonomously by the monastic Chapter, despite several attempts to persuade the community to continue its spiritual mission. Rosario Maria Anzalone, Director of State Museums in Lombardy, declared that the entire administration is committed to ensuring continuity in the care and enhancement of the complex, but above all to improving its access and conditions of enjoyment for the public.

To accompany this delicate transition, the Regional Directorate has commissioned the Fitzcarraldo Foundation of Turin to draw up, with the support of the Cariplo Foundation, a strategic development plan. The main objective is to relaunch the site, both by strengthening its ties with the local territory and by ensuring the efficient management of one of the largest monumental complexes in Italy, characterized by considerable extension and a growing need for public and private resources. The renewal process, designed together with local stakeholders—institutions, religious bodies, universities, cultural associations, and economic players—will begin by the end of the year with meetings and focus groups held within the Certosa itself. The aim is to co-design the future of the monument, gathering ideas and contributions useful for a true regeneration that involves all the living forces of the territory from the ground up.

The opening of this new phase will have concrete practical implications, already anticipated by Director Anzalone. Among the priorities are the extension of opening hours, the progressive organization of professional reception and security services, and above all the introduction of an entrance fee—an unprecedented measure that, according to the Ministry, “will help support the considerable management costs, particularly for supervision, visitor reception, and the maintenance of such a large site.” At the same time, the Directorate stresses that every intervention will be calibrated so as not to distort the historic spiritual and liturgical function of the abbey: even without a resident monastic community, the Certosa aims to remain “a place of faith and a temple of Christian worship,” preserving the memory of its deep bond with the Cistercian congregation.

From a tourism and cultural perspective, the Certosa di Pavia is one of Lombardy’s most iconic attractions, with over 100,000 visitors recorded each year. Its history dates back to the 1370s at the behest of Duke Gian Galeazzo Visconti, who conceived it as a place of prayer, silence, and art, but also of dynastic burial and political representation. Its imposing and refined architecture, bridging Gothic and Renaissance styles, houses a collection of frescoes, sculptures, marble inlays, and sacred furnishings of exceptional value, bearing witness to the contributions of Lombardy’s greatest masters and artistic workshops between the 15th and 16th centuries.

Declared a national monument as early as 1866, the Certosa has over the decades received considerable attention from institutions, but has also faced difficult moments concerning the balance between liturgical function, public access, and preservation. The monks’ presence had until now ensured not only religious vitality, but also constant vigilance against vandalism, decay, and depopulation of the complex. New organizational challenges related to security and hospitality now lie ahead, which the Ministry intends to address through an investment plan and the involvement of dedicated professionals, in collaboration with local stakeholders.

The transfer of full management to the Ministry of Culture also marks a moment of reflection on the Certosa’s prospects as a driver of development for the territory. The aim is to harness its ability to attract international cultural tourism, to promote new forms of education and workshops on art and architecture, and to involve schools and universities. The hope is that greater administrative autonomy will make it possible to plan restorations, exhibitions, special events, and initiatives capable of relaunching the Certosa as one of Northern Italy’s leading museum hubs. At the same time, the Certosa will need to maintain its identity as a space of silence, spirituality, and prayer, in line with the desires of many faithful who have frequented it for generations.

Dialogue with the local community will be central: the Regional Directorate intends to work hand in hand with public bodies, the diocese, civil society organizations, and private actors to build a network of support, investments, and events that will further amplify the public role and vitality of the Certosa. The site boasts untapped potential which, if well managed and promoted, could make it a cultural and economic reference point, serving as a catalyst for the revival of the entire Pavia district. Thanks also to the support of philanthropic institutions such as the Cariplo Foundation, the possibility of experimenting with new models of public and participatory management of a monumental heritage is strengthened, aiming to overcome the limitations of the past and to look towards Europe.

If this ambitious cultural and organizational project truly succeeds, the Certosa di Pavia could stand as a virtuous example of a new vision of cultural heritage, capable of combining conservation, informed enjoyment, international openness, and religious identity. The challenge is not only administrative, but also value-based: to preserve memory, art, and faith while projecting them into a future in which public and private actors, institutions and citizens, believers and laypeople together contribute to keeping alive the legend of the Certosa, a witness of art and spirituality for more than six centuries.