The church is notably distinguished by a series of private devotions that, from the second half of the fifteenth century to the first decades of the following century, testify to the religious fervor of the inhabitants of Millesimo towards their first parish church and their identification with it. One can imagine that the walls were completely adorned with these displays of devotion, so much so that it has been described as a “consumption of devotions,” almost as if the devotion of the faithful themselves had consumed the church’s walls.

The pictorial embellishment is most evident on the left apse wall, where an elegant female figure in monastic robes emerges from the ochre background: it is Saint Martha, depicted here as a female Saint George, intent on taming a dragon held by a chain. Next to it is the Martyrdom of Saint Sebastian, depicted in a now fully Renaissance manner, as the torturers shoot arrows at the Saint, who, in accordance with hagiographic tradition, is tied to a tree.

This is followed by a series of other votive figures, created in the following decades, which demonstrate an attempt to adhere to Renaissance canons. This is evident in the first chapel on the left, where, within the arch, the Prophets of the Church are depicted half-length, set in a spatially studied tribune with a harmonious choice of colors.

The pillars dividing the three naves and the presbytery are covered with votive offerings from individual patrons, who dedicate a special thanksgiving or request to the chosen saint. The venerable saints are identified by their traditional robes and attributes and are identified as (starting from the presbytery and moving clockwise): Saint Francis, Saint Anthony the Abbot, Saint James, Saint George, Saint Nicholas of Tolentino, Saint John the Baptist, and Saint Roch facing Christ emerging from the tomb. These panels were executed by a series of different painters, active in a relatively close period, making the building a hub of artistic exchange and communication.