(by courtesy of D. U. Beste, O.S.B.) Panoramic view (20th c.). Belmont (U.S.A.).
At the Easter candelabrum for the choir, dating from the same time as the beginning of construction, and notable examples of the vast Abruzzese medieval sculptural production, two frescoes are preserved: a Madonna and Child and a Crucifixion signed by the painter Antonio d'Atri in 1371, with insistent Sienese influences.
Of the ancient convent, now used for private purposes, only scant remains survive, almost all altered over the centuries. Of great interest, however, is the chapter hall, whose original structures can still be discerned beneath the 19th-century revetment.
BIBL.: G. Cherubini, Intorno alle pitture di Antonio de Adria in S. M. d'A., in Album pittor. letter. abruzzese, 1 (1860), pp. 103-104; V. BELLINI, Monum. stor. ed artist. degli Abruzzi, Napoli 1880, pp. 651-655; C. Enlart, Origines françaises de l'archit. gothique en Italie, Parigi 1894, pp. 45-48; E. Bertaux, L'art dans l'Italie méridionale, ivi 1904, p. 648 seg.; G. Pansa, S. M. d'A. e le are sacrificali alla «Bona de», in Riv. abruzzese, 33 (1918), p. 482 seg.; I. C. Gavini, Stor. dell'archit., in Abruzzo, I. Milano 1926, pp. 382-385; E. Lavagnino, L'arte medioev. Torino 1945, p. 494; U. Chierici, Saggio di bibl., per la stor. delle arti figurative in Abruzzo, Roma 1947, V. indice; P. Toesca, Il Trecento, Torino 1951, p. 691. Giovanni Carandente