Chiesa di San Sabino
A single nave, with a rectangular hall topped with a barrel vault - this embellished by typical Altieri style stars put in the middle and the sides –broken by the side windows, all with a push upwards, which gives a great sense of spaciousness. Four arches on each side, holding up very overhanging eaves, and two arches on each wall housing the chapels. The simple façade is by Giovanni Antonio Fratini from Forlì, portal and windows perhaps by Maestro Marcello Rainaldi and the concrete tympanum above the door dating 1944. The decorative form of the four chapels is the same, even if partly differentiated. The first chapel on the right, known as the Madonna del Carmine or saint Anthony chapel, belonged to the Confraternity of the Blessed Sacrament and of Mercy. The painting depicts the Madonna del Carmine with Saints Anthony of Padua, Vito, Anthony Abbot and Filippo Neri. The author is unknown, as well as the exact date of its execution, but it could be placed in XVII mid-century . The group of the Madonna and Child is slightly to the left in order to give harmony to the group of figures. Leading the eye up through a winding path, this composition ends at the left with two cherubs and a cloud covering the scenario. The statue of St. Michael the Archangel is in the upper part of the chapel. This is a copy of a work by Andrea Sansovino, and one of the works coming from the religious situations preceding this church. The second chapel on the right, currently known as the Madonna chapel, was originally the altar dedicated to St. Bernardine of Siena shifted here from the preceding church together with the belonged benefit. The first chapel on the left is the unique owned by a noble family of Todi, the Gentiloni family and dedicated to St. Ursula. It is certainly the most baroque of all: the unique one without a rigid composition like the others, following the vertical development of the church. The last chapel, the second left, was run by the Confraternity of the Holy Rosary. It is the altar of Our Lady of the Rosary, and the name derives from the valuable altarpiece decorating it, mature work by the most important painter of the early Baroque in Todi, Andrea Polinori, depicting the Madonna del Rosario and the saints. Among them it’s possible to recognize St. Dominic and St. Catherine from Siena in the foreground, while those in the background are not recognizable.