In this little place, the virgin Clare enclosed herself for love of her Heavenly Spouse.
For 42 years she broke the alabaster of her body in order to fill the Church with a sweet-smelling fragrance.
From the gothic entrance you can admire the Little Choir of St. Clare. It’s only a part of the old choir, shortened in1482 by the wall on which Mezastris painted the fresco of the Crucifix.
On the right – under the stained glass window of P. Bracaloni – the original wooden furnishings speak to us with an austere but sweet voice.
It’s a very small roof-garden, at the end of a small courtyard between two outer walls; a little flower-bed suspended above the Spoletan valley which spreads out below your feet.
Between the dormitory and the infirmary and above the choir of the church, we find this intimate part of the convent, embellished with fourteenth-century frescoes, of particular relevance to the historical events which occurred here.
It was in this place that Clare kept the Eucharist, where she remained in prolonged prayer during her long illnesses and where with the sign of the cross she healed the sick.
Here the sisters and Clare herself, took some brief repose, lined up together on straw mattresses, suffering the biting cold of winter and the suffocating heat of summer.
The fourteenth century Crucifix reigns over the room where Lady Poverty is Queen.
This is the place where the Poor Ladies ate and met together, with its original wooden furnishings. Flowers on the table mark where Clare originally sat.
The double cross vault on low pillars (originally the ceiling was framed with beams) makes it the finest place in the convent, the walls at either end being decorated by two seventeenth-century frescoes, the work of pupils of Sermei (1619).