Originally it had a three-nave aisle basilica, which was later transformed into a single classroom to better meet the needs of preaching, typical of the beggar order founded by Saint Dominic of Guzman. Following the earthquake of 1743, the factory was almost completely destroyed, with the exception of the façade, the left side wall, and part of the sacristy. The carpaccio facade was made in two different moments; The lower part is full of human figures and caryatids leaning against each other, while the upper part has lighter shapes. The interior, with a single nave with a Latin cross and three chapels, was rebuilt after 1743 following the Controversial canons. Among the various altars, all redone, stands out that of the Madonna del Rosario with the fifteen mysteries on the altar on the left, by the painter Neretino Antonio Donato D'Orlando. The bell tower, built by Monsignor Salvio, was repainted in the upper part after the earthquake of 1743. The facade of the sacred building remains mysterious in its iconographic theme, because, despite the late-ancient and low-medieval repertory, witnesses such an inventive Making reference to previous models difficult. The distinction between the two areas of the façade echoes the ideological one which at the same time was realized in the prospect of the Basilica of Santa Croce in Lecce. Adjacent to the church is the Dominican convent restored by Ferdinand Sanfelice after the earthquake to prevent its collapse. It was turned into public school after the suppression of ecclesiastical goods in 1866. On the north side of the church there is the Taurus fountain, which has become the image of the town coat-of-arms since legend claims that the first settlements in Nardò had taken place where the latter had sprung up spring water digging on the ground with the hoof. It was made in 1930 by the sculptor Neretino Michele Gaballo. In recent times, Salandra Square visitors have intensified their habit of addressing the Taurus fountain to express wishes of strength and manhood **.