This cave church, mentioned in the notes of the Matera historian Domenico Ridola, was rediscovered in 1963 by some exponents of the La Scaletta cultural club. This association then merged into the Zetema Foundation, to which the cave church was donated by the Dragone family.
In the 1990s, Vittorio Sgarbi defined it as the Sistine Chapel of rock wall painting. The evocative beauty of the rock Church of Original Sin is due to the figurative taste of its anonymous fresco painter, the so-called Flower Painter of Matera. Of note is the archaic nature of the early medieval frescoes, dating back to the 9th century, among the oldest in the local rock setting. Influences of Lombard culture can be found in them, due to the particularity of some iconographic themes represented, in particular, the triarchies of the saints.
The church is located on the Pietrapenta path, near the Picciano ravine, on the opposite bank of which there was probably a Benedictine monastic settlement.
Referred to by locals as the Cave of the Hundred Saints, it was baptized the Crypt of Original Sin in the 1960s by those who rediscovered it, due to the presence of some frescoes relating to the Old Testament, in particular Genesis.
With a roughly rectangular plan, it is poor in architectural elements, except for three niches, one of which has a flat bottom, which enliven the left wall.
On the back wall there is a fresco depicting Christ the Redeemer and, to its left, there is the fresco concerning the biblical episode of Original Sin.
Adam appears naked, standing next to the Redeemer, next to whom there is a stylized palm tree, symbol of Paradise. The moment of creation is described, when God manifests himself through chierophany, that is to say through the gesture of his hand which from above is directed towards Adam and Eve, almost touching them. This is followed by the scene of Eve, naked, coming out of Adam’s side and of Adam himself stretching out his arms towards the Divine Will with devout gratitude. Again, the scene of Eve follows, standing near the tree on whose trunk the Serpent is coiled with his mouth wide open. Finally, Eve offers the forbidden fruit to Adam.
On the other half of the wall the advent of Darkness (evil) and Light (good) is told. In the first scene, Christ is standing, blessing, facing a young man, dressed in a tunic, with his hands tied and crossed on his belly. In the second scene Jesus is seated and raises his open right hand towards a praising figure, dressed in a very rich cassock.
Below is a scene depicting the purification of a Bishop, who washes his hands with water poured on him by a Deacon from a golden amphora. Both characters have long hair and cleres on their respective heads.
The entire cycle of frescoes is enclosed within a yellow frame, adorned with black, with decorations of white dots and red-black gems. The figures are placed on a white background and are surrounded, in the lower part, by a very beautiful and particular floral decoration.
All three niches, corresponding to as many apses, located on the left wall, are decorated with frescoes, which portray three triarchies.
The first fresco represents Saint Peter, placed in the center between Saint Andrew and Saint John.
The second portrays the Madonna and Child, placed in the center between two Saints, with their heads bowed towards the Virgin.
The third depicts the Archangels: Saint Michael in the center, between Saint Gabriel and Saint Raphael. These frescoes are enclosed within a red frame, bordered in black.
In the innermost area Christ appears holding a black globe with his left hand, while on the side, kneeling, there is the Archangel Michael in adoration. Another fresco follows, near the entrance, representing Christ holding a parchment with his right hand and Saint Peter, kneeling, with his hands outstretched towards the Redeemer. This is the iconographic theme of the traditio legis, typical of early Christian art, concerning papal authority, received by Peter directly from Christ.
