The Collegiate Church of Santa Maria Assunta, also known as the Pieve Collegiata, and renamed in the 19th century as the Collegiata della Santissima Annunziata (Collegiate Church of the Most Holy Annunciation), is a parish church and the primary place of worship for the Catholic community in San Ginesio, located in the Province of Macerata within the jurisdiction of the Archdiocese of Camerino-San Severino Marche. It belongs to the Vicariate of San Ginesio. This collegiate church stands at the heart of the historic center, on a square dedicated to Alberico Gentili.

History Evidence of the church’s foundation Source:

The Collegiate Church of Santa Maria Assunta was constructed in the 11th century atop an earlier Paleochristian chapel dedicated to Genesius of Rome, the patron saint of San Ginesio, located at the town’s center. The earliest historical records of its construction come from the 16th-century canon Marinangelo Severini, documented in his book Historiae Ginesinae. Severini provides a brief historical overview, placing the church’s foundation between 1072 and 1097, before specifying 1098 as the precise starting year in a dedicated chapter. This date is corroborated by an inscription composed for a commemorative plaque, which states:

Regarding its expansion, Severini notes that it was undertaken to accommodate the growing population and facilitate easier access, with the new structure named a Pieve (Latin: Ecclesia plebi congrua, meaning "church suitable for the people"), as recorded in this passage:

This account is echoed by Canon Giuseppe Salvi in the 19th century in his Memorie storiche di Sanginesio:

The late Middle Ages: ecclesiastical life Early economic bequests Marinangelo Severini explains in his book that the church was initially overseen by a pievano named Paolo, alongside four canons, who encouraged many citizens to make testamentary bequests to support the ecclesiastical community. These funds were later used to enhance and beautify the church, a practice common since the early 12th century. Historian Rossano Cicconi notes a gloss alongside Severini’s original text, indicating the number "1116," which might suggest an approximate date (a conjecture) for the start of these bequests or merely an arithmetic subtraction. Cicconi highlights Severini’s challenging narrative style, which avoids a chronological recounting of 12th-century events, instead employing temporal leaps and digressions. Nevertheless, Severini cites an official date, December 1117, referencing a donation under Emperor Henry IV, though its reliability is questionable. More credible evidence comes from Abbot Telesforo Benigni in the 19th century, in his Appendice diplomatica, where he transcribes the earliest record of such practices—a receipt from December 1147. This document reveals that economic transactions were conducted with witnesses and notaries in front of the church in the main square (Latin: in castro Sancti Ginesii in trasanna ecclesie plebis prope ulmos, "in the castle of San Ginesio in the shadows of the parish church near the elms").Benigni, Telesforo, Appendice diplomatica, 19th century.

Structural modifications The building underwent numerous modifications and restorations. The first, in 1294, was overseen by Angelo Bussi, who extended the structure and added three apses. In the 13th and 14th centuries, the church—yet to be designated a collegiate—was entirely rebuilt, and in 1348 its original volume was altered with the patronage of the Da Varano family. Further changes occurred in 1367 to the portico, in 1433 to the baptistery and side doors, and in 1589 to the chapels on the right side. The most significant intervention, however, was the embellishment of the upper facade, commissioned in 1421 to Enrico Alemanno. The original portal from the earlier church remains adjacent to the current one. After structural alterations in the 14th century, a 15th-century fire destroyed the building, prompting subsequent restoration. During this period, Enrico contributed various artworks, including paintings.

Though it served as the town’s principal church, it was originally built outside the city’s defensive perimeter, which in the 11th century was much smaller than today. Only in the 13th century, with the extension of the defensive line in the midst of the conflict between the Guelphs and the Ghibellines, did the church fall within the protected area. In 1248, under Cardinal Pietro Capocci’s directives, the municipal government aligned with the papacy, with territorial changes approved by the Rector of the March on September 7, 1250.

The 18th and 19th centuries In the 18th century, the town experienced numerous earthquakes, subsiding only in 1799. Repairs to the church’s resulting damage were delayed until the following century, specifically in 1832, when it was fully plastered, and again in 1838. During the same century, a lightning strike damaged the bell tower, an event commemorated by an inscription in the sacristy, decorated by the local painter Raffaele Clementini.

In the mid-19th century, after the Virgin Mary in Domenico Malpiedi’s Ascension reportedly moved her eyes, a chapel was built to house the painting, and plans were made to refurbish the facade. The chapel was completed in 1873, while the facade project was assigned in 1853 to Giovanni Battista Carducci from Fermo, then active in Tolentino restoring the Basilica of Saint Nicholas of Tolentino. Carducci proposed a neo-gothic pediment atop Enrico Alemanno’s 15th-century work, blending contemporary trends with the existing style, and restoring the dilapidated connection to the adjacent defensive palace (now the town hall), which had needed reinforcement since 1848. However, these plans were never executed.

With the establishment of the Kingdom of Italy and the subsequent suppression of religious orders, the town hall was relocated to the Franciscan convent on Via Capocastello, seized from the order, and replaced in 1877 with the Giacomo Leopardi Municipal Theater. This shift severed the medieval structural link between the church and civic buildings, of which only a few stones remain, marking the separation of religious and political spheres. The original connection, a trasanna plebis—a loggia used by notaries—later became a porticoed market in 1367, spanning the church’s front and linking to the town hall.

The 20th and 21st centuries

In 1905, the church was designated a "National Monument of Great Antiquity". In the early 20th century, the local Superintendency for Archaeological Heritage of Marche ordered the demolition of a porticoed loggia built in 1832. During the Fascist era, the portico remained intact. Its removal aimed to restore the facade’s original appearance, accompanied by the removal of Baroque altars from the left nave and the addition of an altar in the Paleochristian portal. From the mid-20th century, some 19th-century plaster was stripped, the deteriorating portal was restored, and in 1968 the bell tower was refurbished, reopening passages and removing an altar. On September 26, 1997, the 1997 Umbria and Marche earthquake damaged the bell tower, causing dislodgement of elements, followed by further harm from the 2016–2017 Central Italy earthquakes.

The 2016–2017 earthquake

The church sustained damage from the seismic events beginning August 24, 2016, particularly from the severe tremors of October 26 and 30. On September 8, 2017, it was included in the "First Plan of Interventions on Cultural and Artistic Heritage," approved by then-Commissioner for Reconstruction Vasco Errani a day before his term ended. The initial budget for repairing all religious structures in the Marche region was €84,100,000, later reduced to €59,250,000 under Paola De Micheli. On October 30, the municipal administration and technical staff conducted an inspection, identifying extensive damage, including:Miscellanea Capitolo, in Scarti 1767-1833, Archivio storico della Collegiata, fasc. 11.

Complete fracture of the web above the main entrance; Localized collapse of internal ribbed vaults; Detachment of plaster and severe cracking in the vault masonry; Damage to the Madonna’s chapel.

The structure exhibits significant internal and external damage, largely due to its layout and size. The earthquake caused a partial ceiling and masonry collapse, totaling approximately 45 tons of debris. To prevent further harm to this monument—deemed "the most representative of the Ginesio territory" in a municipal technical report—the town engaged engineer Giordano Piancatelli to draft a safety plan, submitted on November 14, 2016, costing €250,000.

On February 8, 2017, the "MAR07" team from the Ministry of Culture assessed the building’s risk to public safety, noting in their technical report: "Collapse of the central nave vaults with precarious bricks. Penetrating cracks in the apse and bell tower. Severe cracks and a hole in the vault near the entrance of the Madonna della Misericordia chapel. Facade summit securing underway, with longitudinal arch bracing completed. Cracks in the Santissimo Crocifisso chapel, damaging the dome lantern (mechanism 14/15), post-1997 quake chain system in the bell tower, and perimeter steel profile. Significant cracks also in the chapel right of the altar. Recommended securing of the bell chamber (cracked arches) and lantern supports in the Santissimo Crocifisso chapel."Comune di San Ginesio, Sisma del 24 agosto, 26 ottobre e 30 ottobre - ordinanza inagibilità e sgombero chiesa SS.MA Annunziata - Collegiata sita in p.zza A.Gentili distinta al catasto urbano al foglio 43 particella A, Ordinanza sindacale, n. 215, June 6, 2017.

Safety measures involved polyester strapping and a double steel bracing frame integrated with the existing structure. Due to its unsafe condition, on November 18, 2017, the fire brigade salvaged all artworks under the Superintendency’s guidance. A 2018 decree from the Ministry of Cultural Heritage appointed architect Pierluigi Salvati as the sole overseer of reconstruction, budgeted at €3,200,000.

In 2019, the Collegiate, alongside the Basilica of San Benedetto in Norcia and the Church of San Giorgio in Accumoli, was classified as a "symbolic" religious site, warranting special restoration efforts. On December 28, 2023, a Conference of Services updated the intervention cost to €7,380,000, aimed at consolidating masonry, restoring artworks, and repairing damage, with specific focus on vaults, facade, floors, roofing, and frescoes.

Architecture Facade

Traces of the original chapel remain in the aedicule to the right of the portal, believed to have once depicted the saint. The facade comprises three levels: a simpler lower Romanesque section and more elaborate upper Gothic tiers. Crafted in terracotta by Enrico Alemanno in 1421, it is divided into five equal-width but varying-height sections, representing the only example of Flamboyant Gothic in the Marche. Its stylistic elements appear contradictory individually but harmonious as a whole. The entrance portal, framed by a round arch, features a bas-relief of Saint Genesius holding an actor’s mask, while its sides bear ancient carvings of travelers’ names, dates, and natural events, such as one from April 5, 1595, reading: "" ("On April 5, 1595, snow and frost two feet high across the March"). Adjacent to the church stands the Romanesque civic tower, topped with a 17th-century bulbous roof. Near the door, stone etchings mark heavy snowfalls from the 16th century onward, alongside signatures of passersby.

Civic tower