The high altar, a magnificent polychrome wooden structure with gilded trim, preserves in its upper center a small painting by Francesco Allegrini, depicting the Trinity, executed in 1675. Above, God opens his arms over the cross of his dying Son, while the Holy Spirit is manifested as an intense golden light behind them with two angels praying, one looking up to heaven, the other with his hands crossed over his chest.In the center of the altar is Francesco Allegrini’s altarpiece depicting the Annunciation (c. 1655).On either side of the altar, framed in oval stuccoes, are two tempera paintings, also by Francesco Allegrini, depicting two saints: on the right St. Ubaldo,patron saint of Gubbio, in a blessing pose, and on the left St. John the Baptist bearing a scroll with the inscription: ECCE AGNUS DEI.On the vault, in three frames decorated in gold and stucco, we find the three theological virtues: Faith, Hope and Charity.Starting with the entrance:

1. The Allegory of Faith Illuminated by Divine Light, represented by a female figure with an ecstatic expression, holding a cross with her left hand and a flame with her right hand, indicating the light of faith. On either side of the frame we find two shells, adopted by Christianity as symbols of rebirth and spiritual purification referring to baptism and pilgrimage. Baptismal fonts and objects related to this rite, in fact, often have the shape of a shell. Similarly, for centuries, the shell has been a distinctive sign of the pilgrim, who, through the journey, makes a journey of inner purification

2. The Allegory of Hope is circumscribed by a rich frame (also in English) of festoons, flowers and fruits, where a female image surrounded by angels is depicted with a garland on her head, a symbol of hope and future glory. in her right hand she carries a branch of cedars. We also find a cedar in the hands of two angels. Hope presents a light smile of joy on her face, and is painted with the expression of one who seeks to Heaven, the crown of “God’s athletes,” which two angels above are preparing. Among the iconographic symbols of Hope is a raven, an attribute assigned to it by the Romans because of the assonance of its verse with the Latin “cras, cras” (tomorrow, tomorrow). Not surprisingly, the bird is tied to a small rope in the hand of an angel so that it will not be lost.

3. The Allegory of Charity is a female figure distributing bread, according to a 16th-century iconography, and definitely appropriate for the Confraternity, which had among its main purposes helping the needy. But it is also a reference to “Eucharistic bread”: “I am the living bread that came down from heaven; whoever eats this bread will live forever; and the bread that I will give is my flesh for the life of the world.” (Jn. 6:51).Depicted below is the pelican feeding its young with its own blood, a frequent attribute in depictions of Charity.