A convent of the Poor Clares existed in Cagli as early as 1283. Documents mention its existence from 1314. In
1574, the record of the apostolic visit of Monsignor Ragazzoni describes the everyday life of the 34 nuns living there as edifying. During the Napoleonic period the
Poor Clares were expelled and the convent turned into a barracks for 1,500 soldiers. Later, after the Unification of Italy, the building was taken over by the State. The Church's imposing Baroque entrance portal is built from sandstone. A carved monstrance, one of the symbols of Saint Clare, can be seen in the tympanum
above, between large scrolls. The main facade is crowned by a coffered stone cornice. The bell tower, topped by a distinctive onion-domed cupola, is built in exquisite baroque style.
Inside, the barrel-vaulted single nave leads to a fine main altar, decorated in polychrome marble with coupled columns. It was consecrated in 1713. The full size statues in the tympanum are of Faith
and Hope. The altarpiece of The Madonna in Glory with Child, Saints Clare, Francis and Anthony of Padua was painted by Giovanni Conca in 1739. The crest of St Francis appears
in the marble paving of the presbytery, which is embellished with geometrical engravings. Above it, framed by a sunburst and putti, is the image of The Madonna of the Bridge
, painted by Giannandrea Lazzarini (1710-1801), originally from the main altar of a small church, now destroyed, which stood on the nearby Mallio Bridge.
The large painting on the vaulted ceiling, by Gaetano Lapis of Cagli (1706-1773) depicts The Glory of Saint Clare in which the Saint is presented by Saint Francis.
The composition is similar to that used by Sebastiano Conca (in whose workshop Lapis worked) in the fresco which he painted in the Roman church of Santa Cecilia
between 1721 and 1724. Lapis is also the author of the six paintings along the walls of the church which depict (beginning on the left) Saint Barbara, Saint Ursula, Saint
Cecilia, Saint Agnes, Saint Margaret and Saint Apollonia. The Annunciation (17th C) stands on one of the two ornate marble side altars. The Archangel in it is
reminiscent of the work of Guerrieri, while the Virgin recalls the style of Cialdieri. It was painted by Lucio Dolci from Casteldurante (now named Urbania). Dolci's altarpiece on the other side altar,
The Birth of Mary, stands in the artistic tradition described as "Metauro Valley Mannerism". Standing on the altars themselves are a 16th Century wooden reliquary in the form of a
bust to Saint Victoria (which came from the church on the Mallio Bridge) and a gilt wood reliquary of Saint Anna. Behind the presbytery there is another large vaulted
room which is the Rear Choir. text by Alberto Mazzacchera |
