Represents a valuable record of local architecture from the Late Baroque and Rococo, built by master masons Nicholas Mola and Domenico Ferrari. It is the result of the restructuring of the church and the hospitable Olivetan settled in Santa Maria in Campis, the nuns of the nearby monastery of Santa Maria di Betlem, also the Benedictine Congregation of Monte Oliveto, bought the 28 April 1672. The church was consecrated in June 1700, dedicated to the Body of Christ and was completed around the house 1740; was the church of St. Mary of Bethlehem to 1862, year of the suppression of the latter. The altar dedicated to the crucifix was completed in 1728, while the completion of the altar took place within the greater 1736, with the help of Mary Cecilia Roncalli, lady Foligno, monaca in Betlem. From 1737 I was laid Communion of the Apostles Francesco Trevisani (1656-1746). Other paintings of the eighteenth century are located on the first altar on the right (Madonna and Child in Glory, Franciscan saint and holy Bishop) and on the second altar on the left (Nativity), while on the second altar on the right, the sides of a crucifix carved, is a fresco Putti, attributed to the circle of Nasini.

The blade Trevisani is the top art of the church. The canvas was stressed "the equilibrium composition, the gestures and the rest of the light distribution unit, evidence of a `classic` `intention ' (Vittorio Casale).
Note in the pictures that are most notable in the churches of Foligno and its vicinity, report prepared by Bernardino Bartoloni Bocci, Mariano and Vincent Vitali in Piervittori 1852, states that: "This opera house is indeed very valuable for the nobility of the concept, natural expression for d `, and even more for vagueness and truth of coloring. The subject of this excellent painting depicts Jesus Christ who communicates the Apostles. The Redeemer standing, in almost half of which, above a staircase, made by the artist so that more triumphs in the main figure `act exempting the Eucharistic Bread in St. Peter's; the other Apostles crown, in an attitude of adoration and almost waiting for their turn to reach the winning streak of eating the Bread of Angels. All top floor is located in Judah whose features the artist has skilfully expressed remorse for sin, and almost say `s anger and vexation to see the sweetness and gentleness which breathes from the face of the other Apostles. This figure, so vexed and troubled, is placed with such skill and in a way that suits stand out more than the figure of the Saviour and innocent and full of gravity made a certain grace that you see from the face of the Apostles. The drawing in this style of painting is not too purged, as are the works of painters who lived in the decline of the eighteenth century, even though that style is repulsive, which is found in other Artists `s the same old".

Even in 1852, under two choirs at the sides of the altar more, were laid the paintings by Giovanni Andrea Lazzarini Pesaro (1710-1801): left the Supper at Emmaus, Destra's Manna in the desert, that are currently in Town Hall. At the date of cancellation, inventory drawn up in 1862 appeared, also, other paintings on canvas or paper, a rich heritage of sacred vessels and the organ of the master builder Christopher Fountain. After the unit, for several decades, Church in Bethlehem has been home to the Pinacoteca di Foligno.

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