The layout of the medieval church can be traced back to a three-nave building, with the main nave likely covered by a wooden structure and the side naves by barrel vaults or also wooden elements. The bishops of Lavello restored and expanded the building in 1550, when the frescoes were also created, and again in 1621. In subsequent years, further work was carried out, including the addition of pilasters to the nave columns to support new vaulted ceilings that replaced the old wooden ones. In 1657, the church was reconsecrated by Bishop Giuseppe Bonocore. The current church features three naves, all vaulted, divided into three bays with round arches resting on rectangular-section pillars. The main nave ends in a large quadrangular space covered by a cross vault and raised one step above the church floor. On the wall adjacent to the sacristy, an inscription dates the construction to 1711.

**Description**: According to Serafino da Montorio in 1715, at the end of the main nave, an image of the Virgin painted on a panel was preserved at that time, though it has since disappeared.
**Date of use**: Between 1200 and 1500
**Image**: Painting

**Description**: The canvas painting currently venerated is the work of the painter Oliva. It dates back to 1847 and depicts the Virgin nursing Jesus. The Virgin is shown seated, with the image cut off at the legs. Her torso is slightly bent toward the Child, who is partially covered by a white cloth. The Madonna is dressed in a red tunic and a blue mantle, with her head covered by a veil. The canvas is housed in a wooden frame dating to the second half of the 17th century, adapted to the 19th-century painting. The wooden artifact is topped by a pediment engraved with a scene of the Annunciation. The depiction of the Virgin may have a precedent in a mural painting in the sanctuary attributed to Giovanni Todisco, dating to the second half of the 16th century.
**Date of use**: Between 1847 and 1847
**Image**: Painting
**Collection of ex-votos**: No

The first record of the church appears in a 1094 document in which Roger Borsa donated it to the Benedictine Abbey of the Holy Trinity in Venosa. However, the church likely predates this record. In the 19th century, following the construction of a cemetery nearby, the sanctuary was converted into a cemetery chapel, and its religious significance gradually declined until the decision was made to transfer the venerated painting to the former cathedral of S. Mauro in Lavello.

In the 1668 appraisal by surveyor Onofrio Tango, a bishop’s residence is noted next to the sanctuary, “where he used to stay in summer for the cooler air, beautiful surroundings, and good climate.”

On January 8, 1657, Bishop Giuseppe Bonocore of Lavello granted visitors to the sanctuary a plenary indulgence of forty days.

At an unspecified time, the dependency on the Abbey of Venosa ended, and ownership passed to the bishops of Lavello, who maintained a hermit for its material upkeep. It is presumed that spiritual care was then assumed by the secular clergy of the cathedral.

By a 1094 deed, Roger Borsa donated the church to the Benedictine Abbey of the Holy Trinity in Venosa: it is likely that spiritual care was also assumed by the monks.

Since 1965, the sanctuary has been under the patronage of the parish of S. Mauro.

At an unspecified time, the dependency on the Abbey of Venosa ended, and ownership passed to the bishops of Lavello, who maintained a hermit for its material upkeep.

The first record of the church appears in a 1094 document in which Roger Borsa donated it to the Benedictine Abbey of the Holy Trinity in Venosa.

Via Padri Serviti, 1, 23801 Calolziocorte LC, Italy