Church of Santa Maria Assunta

Dating almost certainly from the 12th century, the church was elevated to the status of Collegiata in 1407 by a diploma from the King of Naples, Ladislaus of Anjou-Durazzo. Even today, attentive observers can note elements reminiscent of late Neapolitan Gothic architecture, with perspectival features creating an impression of greater depth. This suggests that the main structural elements of the central nave may belong to the original church, although they were later adapted to suit the late-Baroque tastes of the 18th century. Over the centuries, side chapels from different periods were added to the central nave.

The church retains its 18th-century Neoclassical façade, divided by four Doric pilasters supporting a wide entablature, and an elegant 37-metre-high bell tower designed by Pietro Magarelli and completed in 1731, crowned with a scenographic onion-shaped dome visible for kilometres. The simplicity of the exterior contrasts with the richness of the interior stuccoes.

The interior is organised into three naves, with the lateral ones providing access to chapels, which are true treasure troves of art. Notable works include polychrome stone sculptures dedicated to the Madonna di Terra Rossa and the Trinity by the Renaissance artist Stefano da Putignano; valuable paintings and murals by Giuseppe De Mattia, Alessio D'Elia, Nicola De Filippis, Nicola Gliri, and Nicola Colonna; as well as 18th-century wooden works including the organ, choir loft, and pulpit, and the 17th-century wooden San Giacomo by the Neapolitan Aniello Stellato.

The church also contains a chapel serving as the mausoleum of the Moles family, in a late-Renaissance style. Its altar is finely decorated with local stone and features niches containing polychrome stone statues from a later period than those of Stefano da Putignano, yet still reflecting the influence of the master or his school.