This former church of S. Dominic consecrated in 1351 and attached to the convent of the Dominicans, settled in Foligno from 1285. The church and adjoining convent is one of the most representative monuments of Foligno, despite having lost both its functional connotation, but not the architectural, still visible above the pointed portal and from the fourteenth century Gothic tower.

From Book of Memories Friar Thomas Duranti know that the monastery of S. Dominic in 1566 was removed to the Dominican convent and entrusted to the friars of the reform of S. Pius V. Vacuum documentary about the oldest stories of the complex structural contrasts, for the period after the mid-sixteenth century, a wealth of documents, summarized in Book of Memories. In 1799 The Dominican fathers regained possession of their convent; in 1806 There was the second dissolution of the priory, reduced to "French hospital dé"; in 1848, suppression of the convent during the third, the church was used as a dormitory for troops bound for Rome; passed, following the nineteenth century demaniazioni (Pepoli decree, 1860) property of the Municipality of, becoming the object of the various uses. In the beginning it was turned into stables for the horses of. Before 1864, also, The most remarkable frescoes were removed from the church and placed in the Town Hall. Even in 1904 Antonio Mancinelli remembers her as gymnasium, then be used, in more recent times, as a woodshed and breeding ground of the City.

The problem of restoring the building was set with determination from 1972 and finally, After a major restoration works, The church has recently been transformed in the Auditorium, the architect Franco Antonelli (Foligno 1929-1994). The project 1982 provided for the transformation into a concert hall, theater, conferences and exhibitions; the inauguration of the Auditorium, occurred on 23 October 1996, returned to the citizenship structure, fundamentally unchanged outside, can accommodate 662 spectators in the central hall, equipped with a reduced, a foyer, a cafeteria and a room video 96 places.

The church, then, has undergone many adaptations, not only along the arc of the fourteenth century and the next (the fourteenth century was also the belfry tower of stone with brick church that stands on the left), but also in more recent times, when havoc and spoliation of use, after the final demaniazione in 1861, have compromised the large cycle of frescoes, moreover, in whole or in part covered since 1666, ma recently restaurati. The facade has a fine Gothic portal; the interior has a sloping roof, typical of the churches of the mendicant orders and keep the skeleton gothic. Modern trusses overhang the only large hall with a transept and apse, while more than fifty persons, as well as various fragments difficult to read, constitute a complex group of frescoes that runs along the walls of the nave, the counter and the apse, defined by Giordana Benazzi "one of the most important evidence of the painting in central Italy between the fourteenth and fifteenth". Some frescoes, removed in 1863, are currently stored at Palazzo Trinci, city ​​museum. The decorative undertaking, which did not contain an organic cycle of frescoes but rather large scenes or votive images that were held at various heights, flanking or overlapping, was probably made in conjunction with structural measures carried out before the end of the fourteenth century, when tamponarono large lancet windows of the aisle and proceeded to the construction of the two transverse arches. This type of project confirms the presence of many teachers and people in their circle, in a period of a few tens of years between the late fourteenth and early fifteenth. The same Benazzi postulates the presence of well-known artists: the Orvieto Cola Petruccioli appears to be the author of the "upper portion of a fresco that alludes to a broader scene, which remains the beautiful setting with a bust of the Prophet in a compass and a fine of angels that were around crown at the central part of the composition, hours lost (perhaps a 'Coronation)”. Scope Orvieto also refer other scenes: a fragment on the same wall, perhaps even the same Cola, representing the image of the Vir dolorum above figures of angels, inserted in a circle, in a frame decorated with foliage and another song composed by male heads monochrome medallions in frames with. In most scenes can be detected the hand of the Foligno John of Corraduccio: surely the figure of a saint with the customer, perhaps S. Gregory, on the left wall, near Orvieto and probably painted in scenes of Martyrdom of S. Sebastian and the Mystic Marriage of S. Catherine, painted on the wall opposite.

In diverse scene, as the one representing Christ in the House of Martha and Mary, we recognize the hand of another great master in this city destination (S. Catherine, S. Francis, Gallery) and in some neighboring towns (Trevi, Montefalco), known thanks to his masterpiece "Master of the apse of the right S. Francesco in Montefalco ".

Among the pieces placeable in the fifteenth century most advanced, worthy of note is the depiction of Our Lady of Loreto that, placed in a niche of the left wall in response to a break which has sacrificed the lower part, seems to lead, for pictorial quality and style, the name of Bartolomeo di Tommaso.

To remember is, also, the figure of S. Sebastian, down, on the opposite wall, which shows the characters of 'Pupil young.

The adjoining convent, in a first time home of the barracks and subsequently (1928-1971) College of the City "Peter Sgariglia", governed by the fathers Somascans, present in a large cloister, porch with built between 1598 and 1623 and the upper gallery.

Information: such. e fax 0742- 344563
Bookings for guided tours: Fulginart Soc. coop. a.r.l., such 0742-357989 / 330580; fax 340496
e-mail: auditorium@comune.foligno.pg.it

For reservations of rooms Auditorium
Time: hours 9 – 13 (Monday to Friday)
Telephone: 0742-344563 – 3330393; fax 344563
e-mail: auditorium@comune.foligno.pg.it
Who to contact: Saul Stoppini