The church of Santa Maria di Canepanova is a place of Catholic worship in Pavia. It is the most important monument of the sixteenth century in the city of Pavia, designed by the architect Giovanni Antonio Amadeo. The construction of the church was carried out between 1492 and 1507 under the direction of Giovanni Antonio Amadeo, perhaps based on a design by Bramante. The architect from Pavia, at the height of his fame after erecting the tiburio of the Milan cathedral, was in Pavia on behalf of Cardinal Ascanio Sforza, brother of Ludovico il Moro, who directed the construction of the cathedral. The church seems to have been built to incorporate a miraculous fresco of the Madonna that was on the facade of a house belonging to the Canepanova noble family, which probably partially subsidized the works, hence the name of the church itself. The construction works were interrupted due to wars, and were completed after the arrival of the Barnabite fathers in 1557, with the erection of the dome. In the seventeenth century the Baroque decoration of the interior was painted with paintings and stuccos. In 1810 the Barnabites had to abandon the convent, which was used as a school. Even today it hosts the Liceo Classico which in 1865 was named after Ugo Foscolo and the church became a subsidiary of the parish of San Francesco. On December 6, 1915, the church was entrusted to the Friars Minor who built the new convent alongside it. In this Pavese work the architect Amadeo resumed his constructive style ad quadratum deriving from his master Guiniforte Solari, already used between 1470 and 1476 to realize the famous Colleoni chapel in Bergamo: it is a cubic volume set on the square, on which an octagonal tiburium and four small bell towers rest. This is the type of temple with a central plan widespread at the time in Lombardy, whose most notable examples were San Magno in Legnano, the Incoronata di Lodi and Santa Maria della Croce in Crema, considered by many to be of Bramante ancestry. The compact arrangement of the interior acts as a counterpoint to the effect of compactness produced by the external apparatus, almost completely devoid of openings and decorations. The central space is generated by the eight sides of the dome projected within the square perimeter of the church; the figure thus inscribed creates a succession of niches supported by an arch for each of the faces of the octagon. The interior decoration was made at the beginning of the seventeenth century by important Baroque school painters. The couple of canvases to the left of the entrance, by the Bolognese Camillo Procaccini, portray Rebecca quenches the servant sent by Abraham to ask her in marriage for Isaac's son, and Miriam sings the canticle to express the exultation after the Red Sea crossing. To the left of the presbytery, of Julius Caesar Procaccini, Camillo's younger brother, are Debora orders Barak to face the enemy in war and Rachel, before whom Jacob takes the stone of the well to water his flock. On the right side there are instead Abigail place the wrath of King David and Giaele kills Sisara, of the Piedmontese Guglielmo Caccia called the Moncalvo, to the right of the entrance, while towards the presbytery are the paintings with Ester and Assuero and Giuditta and Holoferne, of Alessandro Tiarini, the less gifted painter among the authors of the cycle. Lately attributed to the hand of Simone Peterzano is the altarpiece of the chapel on the left, Nativity with St. Anthony of Padua.The high altar presents a Madonna del latte, considered miraculous, within a monumental sculptural work of the Genoese Tommaso Orsolino (1675), already active in the Duomo and the Certosa. The last to be decorated was the dome, frescoed with quadrature architectural architecture by Giovanni Battista Longone. Above the portal, the choir with the fine organ "Angelo Amati 1853", which is played regularly on holidays and at prestigious concerts.