From Chiesa di Santa Caterina, continuing through the porticos of Via Carlo Alberto, you reach Piazza Santa Maria Maggiore, with its elegant facades of ancient and aristocratic homes, decorated with frescoes (still largely preserved) dating back to a period between ' 400 and the'500, which stands in front of the Church.
The Church of Santa Maria Maggiore takes the present in the second half of 1400, according to those lines at the time that Gothic architecture inspired Venetian. Originally it was the Benedictine Abbey, built in the early XII century to honor the Mother of God, from the revered here, had aroused miraculous healings.
That is why even today, in March and September, are renewed pilgrimages of the sick. In particular, during the Feast of (August 15) the Mayor offers a large candle to the Virgin incorporating a dual acting town dating back to the beginning of 1300 that forever linking the head of the city to bear every year offered to the Church in thanksgiving for the liberation of the city from external threats and internal tyranny.
The facade of the Church, in late-Gothic style Venetian, is characterized on the pediment mistilineo four edicolette stone and is embellished by elaborate window frames with brick. The interior has three naves on columns and arches in the sixth acute, and wooden ceiling with four sloping, minutely box painted by Cantinella.
From transept, the coverage was rebuilt crossbar in Foggia lombardesche, following the killing of 1511 (imposed by the defensive needs of the city under siege), along with robust tower block and not the final sixteenth century. Surviving as demolition is also the fifteenth beautiful marble temple with parapets, pillars and stone lintels decorated with bas-reliefs and inlays.
In the background we see the miraculous image of Our Lady (likely remaking fourteenth century). Behind the altar of the Madonna opens the semicircular chapel frescoed by Gian Pietro Meloni and Ludovico Fiumicelli to collect the remains of Greek Francesco and his family.
Only example in cities with a chapel frescoed entirely and fully preserved, this painting cycle intended to decorate a tomb, focuses mainly in the Resurrection of Christ (lunette above the altar), the epilogue on the Passion narrative that flows along the walls and beginning with the Resurrection of Lazarus. Steady on is told through the mystery of the Annunciation, the Nativity, the Adoration of the Magi and the Flight into Egypt.
Apse in the chapel of the left lies the burial monument of Mercury Bua by Augustine Corsets (known as Bambaia), dating back to 1522. It's death is represented by three frames to high.
At the center of the time established by the physician, left the beginning of this event, to the right conclusion of the transition with the celebration of the funeral. Top survival is symbolically represented by Virtue.