 uricola
The white mole of the church stands out solemnly at m. 270
of altitude on the pick of the hill called too Auricola. It is accessible from Amaseno through a
rolling road km. 3,762 long. From there
it is possible to admire a pleasant view of the wide valley underneath. The building, which appears to be of a
recent making, contains inside considerable remains of old age.
Its origin goes back to before XIII century. The historian Tomassetti, judging by the
iconographic characters of the old frescos existent in the church, is of the
opinion that Cistercian monks founded it.
The building was partially destroyed by the 1944 gunfire and
subsequently repaired.
The church is built in local limestone, chisel-worked. The exterior is modelled on the elegant
lines of the later Romanesque style.
All the main elements, such as the portal and the corbels, are made from
the white stone of Pescara.
The interior, preceded by the vestibule preserves the
primitive Gothic shapes: straight pilasters, pointed arches and cross
vaults. It has only one nave with
asymmetric lateral chapel, which are the oldest part of the church.
On the vaults and on the walls there are valuable frescos
with various figures and ornaments, which show characteristics similar to those
of S. Maria’s church in Amaseno. On the
high altar is placed a panel, dimension m. 1,30 x 1,00, showing the Virgin on
the throne feeding the Child and the two Mary’s one on each side; two small
squares on the upper corner show the Annunciation and the Nativity scenes. It is believed to be of the Neapolitan
school of the XV century. The walnut
frame was carved by Vespasiano Tosti at the end of XIX century, as well as the
three altars.
In the internal chapel of the monastery is preserved a very
beautiful altar of polychrome marbles coming from Macchirelli’s palace in
Pesaro. Notable too are the four golden
and carved wooden reliquaries left to the church by Franciscan friars and
placed in the relic chapel; they are very interesting examples of carving of
the XVII century’s baroque art.
Translated by Mauro
Rotondi & Beverley Wheatley
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