The church of San Matteo is a baroque Catholic worship site in the historical center of Lecce. It was built in the second half of the 17th century, on the designs of Achille Larducci of Salò (niece of Francesco Borromini). It replaced an ancient 15th century chapel devoted to the apostle Matteo, which was annexed to a Franciscan convent. The laying of the first stone was made in 1667 by the Bishop of Lecce Luigi Pappacoda, and was completed in 1700. From 30 April 1810 it is the seat of the parish of Santa Maria della Luce, erected on 16 March 1606 in a church of the same name, outside the walls and transferred here after the suppression of the Franciscan monastery. The prospect is characterized by a contrast of lines; to the convex surface of the lower order, the concave upper order alternates. The Larducci, resumes the stylistic model by Francesco Borromini in the facade of the Roman church of San Carlo at the Quattro Fontane. The lower order, tripartite by two columns on tall quadrangular stands, is characterized by an unusual sculptural decoration of the central part, distinguished by an elaborate portal, with a branch overlaid by the coat of arms of the Franciscan Order. On the sides, two niches emerge on a diamond tip background. The upper order presents a sergiant crowned by a continuous molding and two richly decorated niches. The sinuous trend is accentuated by the moldy, mistiline crowning frame, surmounted by a sizzling fasting. The interior has a single elliptical plan. The chapels, which open along the walls, are interspersed with tall semi-circular skylights on which stand the twelve stone statues of the Apostles, built in 1692 by Placido Buffelli of Alessano. In the nave, at the chapels, there are ten ten-dongers from which the religious attended the functions. The roof was rebuilt at the beginning of the 19th century in lieu of the ancient wooden ceiling. The altars, typical of the Lecce baroque, are attributed to the school of Giuseppe Cino. Along the left side of the aisle, there are several altars: the first is dedicated to Saint Agata and preserves the canvas of The Martyrdom of Santa Agata, made in 1813 by Pasquale Grassi. The second altar is dedicated to St. Francis of Assisi; follows that of Saint Rita by Cascia with Raffaele Caretta paper-papier statue. The fourth and fifth altars are dedicated respectively to the Immaculate Virgin and to the Piety; the latter welcomes a valuable statue of the polychrome wood piety made in Venice in 1693. The apse, covered by a star, is embellished by an artistic altar with an exuberant decoration with small statues of saints in the intercolumns. At the center of the altar there is a niche containing the wooden statue of St. Matthew the Apostle, sculpted in 1691 by Neapolitan Gaetano Patalano.
Along the right side of the nave, continuing to the entrance, there are four other altars: the first one features a painting of Our Lady of Light, a sixteenth-century fresco from the ancient church of Santa Maria della Luce depicting the Virgin and Child showing the neck a crown of coral. Following are the altars of St. Anne and the Holy Family, both bearing a painting by Serafino Elmo. Between the two altars there is a wooden parchment, fine carving work, and four stately allegorical stone statues. The last altar is dedicated to Saint Oronzo with a shovel in 1736. The wooden door is preserved in carved and golden wood from the eighteenth century of the Basilica of Santa Croce.