Coeval with the adjoining convent of the Minim Friars, of which it is part and follows the events, the church is dedicated to the Holy Crucifix, whose image stood on the high altar. The sacred building, better known as San Francesco di Paola because of the painting now placed on the apse wall within a small temple in polychrome marble, has only one nave and originally had four side altars of which now remain only the above structures in relief in Baroque style. Inside of which are placed the following paintings: on the first right the Assumption into heaven over a rural landscape with in the foreground, albeit minute, a shepherd leaning on his stick while controlling a flock of sheep, A little further back a small village stands out a bell tower that cannot but recall the lost clock tower above the entrance door to the castle of Castelleone, not far a parish church, all culminating in a mountain echoing the Catria. During the eighteenth and nineteenth centuries, the seventeenth-century work attributed to Terenzio Terenzi, known as the Rondolino, had been repainted with a more modest San Vincenzo Ferreri that with the restoration of 2007 was appropriately removed; on the second the well-made Holy Crucifix painted on panel, coeval with the construction of the church and once on the high altar; on the first altar on the left a Madonna del Carmine with Carmelite Saints; on the second the Madonna and Child and Saints Dominic and Catherine of unknown painter of the early eighteenth century. On the left wall of the apse there is the Madonna di Loreto e Santi, work of Ascanio Casola of 1674. In addition to the paintings, in the building there are also two statues: the Ecce Homo in painted wood of good school and a more recent plaster and resin statue depicting Saint Francis of Paola. The church, whose ceiling and flooring were rebuilt after the Second World War, has remained substantially unchanged and has a simple but sober and harmonious appearance. The facade, punctuated by geometric shapes in relief adorned with two niches and two windows, is surmounted by a Baroque tympanum culminating with a cross and is flanked by the bell tower that connects it architecturally to the convent. The whole, with its play of lights and shadows, looks like a scenic closure of the direction of development of the town, one side of which is punctuated by a striking loggia. After the definitive post unification forfeiture and the subsequent passage to the Municipality, the rectory of the church is entrusted to the parish priest. In the Easter period, in honor of the Holy Wonderworker there is the traditional and secular Feast of Forgiveness that still today attracts a fair number of people from neighboring towns.