The sixteenth-century church is characterized by a single rectangular nave, with pilasters projecting from the perimeter walls and niches with recessed altars.
In 1700 it will be the protagonist of an intense program of works that affected both the cloister and the Church, whose decorations were adapted to the late Baroque tastes of the Rococo, as can be seen from the covering of the frescoes that originally decorated the entire church, re-emerged in small portions during restoration work. The frescoes were replaced, including them, with the brighter white and rich floral decorations.
The elements that characterize the Church are the stuccoes and the wooden carvings. On the false ceiling, framed by the paintings of the allegories of the seven theological virtues, nine panels are set.
The wooden ceiling of the church, dated to 1714 (COMMUNI PIETATE CONSTRUCTUM 1714) as reported by the inscription on the edge corresponding to the entrance facade, is richly decorated with floral motifs and large panels with angels and allegorical female figures, it houses 9 tables of a Cincquecentico polyptych (1538, oil on panel) dated to the sixteenth century and by an unknown Lucanian author. In the panels it represents: San Martino, Santa Chiara, the Resurrection, Mary Magdalene, San Donato, San Francesco, Madonna with child enthroned, Sant’Antonio and San Giovanni Battista. The dimensions, the sequence of the inscription, the position of the images, suggest that the nine panels initially composed, with another dispersed passage, a large two-order polyptych.
Despite the state of conservation, the work, dated 1538, is an admirable example of the southern Renaissance, so much so that it was exhibited at the exhibition held in Matera, Renaissance seen from the South.Leggi di più