Adjoining the church of St. Augustine was the convent, on two floors, which currently houses the middle schools and the post office; originally the palace was delimited by a porch on three sides that today only affects one half and half. The load-bearing structure consists of front-facing masonry with cruise linings in the basement floors and first while the main entrance with a full arch is still visible small traces of a stone portal adorned with semicolon remains.
From the long side of the cloister there is access to a quadrangular quay with quadripartite cruise vault that constituted the Sacristy of Saint Savior. Inside the walls and the vault there are traces of frescoes, the best preserved is a Crucifixion dating from 1380. It sits on the wall that was originally facing the cellar and barn and from which it is currently accessed. The fulcrum of composition, the Christian on the cross is flanked by the personifications of the Church and the Synagogue, portrayed according to traditional forms. The Church, the Bride of Christ, is on her right hand: she is a beautiful girl in vermilion-like gifts, an explicit Eucharistic reminder, caught in the act of collecting the blood of the Redeemer in a cup while holding a triumphant banner with the cross red that stands out from the white background. The Synagogue, on the other hand, is on the left hand of Christ in the attitude of pain with his hand to his face, his veiled head, his dress with shades of tone; he throws the broken rod of a dark flag to prove his defeat. On the consecutive wall, the scenes of the Circumcision and Baptism of Jesus emerge, which are very deteriorated except for the figure of God the Blessed Father. On the opposite side stand out on the archive of the niche that contained the altar the Savior with a maple bearing the Ergo sum lux mundi. Other images include the Madonna on the throne with the child and the Annunciation’s highest. Inside, a large fish and the hind legs of a ram: they are what remains of the zodiac signs that tradition attests to us. Instead, the four faces with swollen and body-less edges represent the winds.
Description extracted from: “Montegiorgio in History and Art” by Mario Liberati, Andrea Livi Editor and Municipality of Montegiorgio, February 2008.