Ha square plan with a front porch of modest proportions. It is located at the intersection of several streets, a characteristic of the town itself, and has a diagonal disposition with respect to the angle between the streets. The work is well composed and shows through the types and joints of the bricks the construction phases due to the addition of a monumental architecture on the previous edifice. The edifice has a small dome and the porch has a groin vault.The previous chapel proved almost immediately insufficient to accommodate the numerous pilgrims and so in the same year a new larger church was rebuilt that incorporates the previous chapel. In the years, other buildings have been added that are currently partly inhabited by a community of Capuchin Tertiary Sisters Amigonianas, from the province of Valencia. In part, they are under renovation to accommodate pilgrims and people desiring silence, prayer, and spirituality. In the coming years, the setup of an open space for liturgical celebrations and various religious events (concerts, youth meetings, various representations, etc.) is planned.
Description: It is two small fragments of white majolica that constituted the bottom of a cup, in which the image of the Madonna and Child is painted. The latter holds the globe in his hands, turns his back to the mother, but has his face turned towards her, and one has the impression that they are conversing with affectionate cheerfulness. Entered into use: in the year 1657 Image: Painting Place: Source
Original location of the Sanctuary: Originally they were hung on the oak; from 1687 they began to be hung on the internal walls of the sanctuary. Notes on the collection: From 1657 to 1687 the ex-votos are painted mainly on oiled canvas and other perishable material, later they are reproduced on majolica tiles and hung on the walls. There are about 630 tiles, donated over a period of more than three centuries, mostly belonging to the period from 1657 to the mid-1700s, with an almost total interruption throughout the 1800s, and a sharp resurgence in our century. In the tiles, the history of the miracle received is documented in writing and through the drawing. In March 1976, there was a first theft: eight ancient tiles were removed, in 1980 there was another theft: on September 4 and 6, 201 tiles were taken away, 40 broken and damaged remained on the floor of the Church. Among these was the tile that gave rise to the devotion, it was restored and placed in the corridor behind the altar. The other damaged tiles have also been restored, at various times about half of the stolen tiles have been recovered, while for those never found, copies have been made, so as to have, from an iconographic point of view, the entire votive corpus. Type of ex-votos: Other Current conservation: They are hung on the internal walls of the sanctuary. Reference to publications or printed descriptions: Grazzietta Guaitini, Tullio Seppilli, The ex-votos in majolica of the church of the Madonna dei Bagni near Deruta in Ancient Majolicas of Deruta, Florence 1980, pp. 49-53.
The miracles are represented in the six hundred painted majolica tiles hung on the walls of the church which, in addition to being an interesting document concerning devotion and worship, are also important for an anthropological study on the fears, accidents, and diseases from which man feels threatened.
1613  (construction of the entire property)<br><br>The church was erected in 1613.In March 1657, Cristoforo di Filippo, a haberdasher from Deruta, obtained the miraculous healing of his wife requested from the image of the Madonna reproduced on a ceramic fragment, which he himself, four years earlier, had found on the ground and had fixed among the branches of an oak so that it would not be trampled by passersby. In July, on the day of Our Lady of Mount Carmel, the spouses went to thank the Virgin for the grace received by hanging the first vow. The abbot of the monastery of San Pietro in Perugia, to which the territory of Deruta belonged, ordered the construction of a chapel that would incorporate the oak where the miraculous Image was placed. On September 4, 1657, the abbot himself laid the first stone of the chapel; on October 28, 1657, the procession and a solemn Mass, celebrated by the Bishop, officially mark the beginning of the new cult after the recognition of the ecclesiastical authority. Soon the church remains insufficient to accommodate the devotees, so in 1687 it is enlarged. The cult and the influx of the faithful grow, until the mid-1700s, from then on throughout the 1800s there was a decline in devotion and also the production of majolica votive tiles decreases considerably. In the 1900s there was a resurgence of both and in 1910, 1925, 1970-1972, 1985-1987, important works of consolidation and restoration of the building were carried out. (Cf. Antonio Santantoni, The Madonna of the Bath, Porziuncola Assisi 1997, p. 7-12).
In 1643 a Franciscan friar passing through the Colle del Bagno sees on the ground a fragment of majolica where the Madonna with the Child is painted; to prevent it from being trampled, he places it among the branches of a young oak. With the passage of time, due to the wind and other atmospheric agents, the piece of pottery falls several times, fragmenting further. In 1653 the haberdasher from Casalina, Christoforo di Filippo, moved with compassion by the image fallen again to the ground, takes it and takes it home, then brings it back and fixes it with two nails among the branches of the oak. Two years later the haberdasher’s wife falls seriously ill. The haberdasher, passing in front of the Image, asks the Virgin to save her. Returning home, he finds his wife completely healed, engaged in household chores. So they go together to thank the Madonna and hang the first ex-voto on the tree.(Taken from: History of the Madonna del Bagno, Historical Archive of San Pietro, Perugia, Bundle XXVI/1.). There is also another version of the legend: In an oak grove there was an image of the Madonna painted on the bottom of a majolica cup, tied to a branch. One day a haberdasher from Casalina, Christoforo di Filippo, moved with compassion by the effigy fallen to the ground, takes it and takes it home, brings it back fixing it with two nails between the forked branches of the oak. Having to leave home for work reasons, he passes through the woods and prays to the Virgin; returned home, he finds his wife healed. They thanked the Madonna by attaching to the branches of the oak the first tile painted in majolica. In September a storm stripped all the oaks except the one tied to the virgin; during the summer the holy water had alleviated a strong drought and was considered miraculous. So on September 4, 1657, the construction of the sanctuary was started on the initiative of the abbot of the monastery of San Pietro. (Taken from: Fiorella Giacalone: The foundation legends of the Marian sanctuaries in Umbria In Studies and research of Cultural Anthropology and Sociology 1985; Notebooks of the Institute of Social Studies, 7; Acts of the Faculty of Political Sciences a.a. 1983-1984, 20; University of Perugia, pp.69-70).
Tile in ceramic where the first miracle is painted, which was followed by the construction of the sanctuary.
1783 plenary indulgence for the annual feast of August 8. (Cf. Grazzietta Guaitini, Tullio Seppilli, The ex-votos in majolica of the church of the Madonna dei Bagni near Deruta in Ancient Majolicas of Deruta, Florence 1980, p. 50 furthermore: Historical Archive of the Abbey of San Pietro in Perugia, Bundle XXVI Correspondence regarding the Madonna del Bagno.
Currently the spiritual care of the sanctuary is under the parish priest of the Parish of Casalina.
The sanctuary from 1657, the year of its construction, until 1892 was under the patronage of the Benedictine monks of the abbey of San Pietro in Perugia, from 1892 until today it is under the patronage of the Autonomous Moral Entity Foundation for Agricultural Education of San Pietro in Perugia.

Strada St. E 7, Deruta, PG 06053, 06053 Deruta PG, Italy