The monastery had a new period of expansion under Pope Eugenio IV, who joined it to the Congregation of St. Justine of Padua (later known as Cassinese), thus maintaining a position of prestige and power in the city.

Consequently, after the intervention of the Piedmontese army and the long-awaited Unification of Italy, the new government allowed the Benedictines to remain in the abbey, granting an extension to the Pepoli decree which sanctioned the state ownership of the ecclesiastical property, until the religious persons present at the events of 20 June 1859 were reduced to three.

On the left are Saints Peter and Paul, the Annunciation, St. George and the Dragon, the Pietas, on the right is a rare example of the Trinità trifronte (with three faces of Christ - as in two other churches in Perugia, St. Agatha and St. Mary of Colombata).

[1] The polygonal bell tower on the right of the gate is 70 meters high, with a tapered pinnacle and was built in the 13th century on the basis of the pre-existing Roman mausoleum, and completed, after various incidents, in 1463–68 with Florentine Gothic-Renaissance lines on a design by Bernardo Rossellino.

In spite of the Napoleonic spoliations that followed one another in 1797 and 1813, it remains the richest church in the city and houses the largest art collection in Perugia, after the Galleria Nazionale dell'Umbria.

The nave is articulated by arcades on 18 grey marble columns datable between the end of the III and the beginning of the 4th century AD with unique spolia capitals, probably coming from Roman times.

At the beginning of the right aisle the first piece depicts La Madonna in trono e Santi ('The Madonna on the throne and Saints') by Eusebio da San Giorgio (16th century), followed by Assunzione della Vergine ('The Assumption of the Virgin') by Orazio Alfani (16th century), Santa Scholastica by Francesco Appiani (1751), lI miracolo della Colonna ('The Miracle of the Column') by Giacinto Cimignani da Pistoia (1677), Il miracolo di San Mauro ('The Miracle of St. Mauro') by Cesare Sermei (1648), Davide sceglie tra i tre Castighi ('Davide chooses among the three Chastisements') by Ventura Salimbeni (1602), San Benedetto Consegna la regola ai Monaci ('St.

Benedict Delivering the Rule to the Monks') by Eusebio da S. Giorgio, with the martirio di S. Cristina ('Martyrdom of St. Christina') at its base, San Gregorio Magno in processione con il popolo durante la peste ('St.

Gregory the Great in procession with the people during the plague') by Ventura Salimbeni (1602), Sansone ('Samson') by François Perrier (17th century) and on the left the Pietà of Sebastiano del Piombo school.

Along the wall the St. Joseph Chapel was decorated with frescoes in 1857 by the sixteen-year-old Domenico Bruschi from Perugia: in the vault are the four cardinal virtues, in which he used the Purismo style like Perugino, learned by his master Silvestro Valeri.

[3] On the right the canvas La vergine con S. Elisabetta e S. Giovannino ('The Virgin Mary with St. Elizabeth and John the Baptist as an Infant') by an artist from the Tuscan School (16th century).

At the end of the nave La Cappella delle Reliquie o degli angeli ('the Chapel of Relics or of the Angels') with a wrought iron gate, 16th century stuccoes and frescoes by Benedetto Bandiera (1599).

On the sides of the entrance to the presbytery are two paintings by Gian Domenico Cerrini (17th century): Vergine che allatta il Bambino e San Giovanni Battista ('the Virgin nursing the Infant Jesus and St. John the Baptist').

It leads to the small balcony situated behind the altar, right in the middle of the wooden choir, with a view which opens up along the entire Umbrian valley towards Mount Subasio.

The pulpits on the sides of the presbytery and other structural components by Francesco di Guido da Settignano (16th century), a member of the Tuscan family of stonemasons, are Renaissance in style.

The frescoes on the side walls are the Delivery of the Keys and The Conversion of Paul the Apostle by Giovanni Battista Lombardelli (1591) and the ones in the lunettes are the Theological and Cardinal Virtues by Silla Piccinini (also known as Scilla Pecennini) and Pietro Rancanelli (XVI).

At the bottom of the left aisle the Pietà with St. Geronimo and St. Leonardo (15th century), attributed to Benedetto Bonfigli or Fiorenzo di Lorenzo, on the right wall San Pietro piange per aver rinnegato Gesù ('St.

The left aisle leads to the apse where there is an early medieval crypt discovered in 1979, with a circular plan with a suggesting ambulatory and plastered walls painted with geometric and figurative motifs.

Under the portico, on the side facing the entrance, there is the ancient access to the Chapter House, which has now become the main hall of the Library of the Faculty of Agriculture "Mario Marte".

At the entrance of the former refectory, nowadays the Aula Magna, is a 15th-century glazed terracotta laver depicting the la Samaritana al pozzo ('Samaritan woman at the well'), attributed to Benedetto Buglione.

On display is a vast collection of works which span the end of the 15th to the 19th century, including the detached fresco by Giannicola di Paolo, previously located above the portal of the basilica.