Today there are just few remains of the frescoes once completely covering the inner walls of S.Maria a Pie' di Chienti church. They are all gathered in the upper part of the building where the lower degree of humidity has favoured their preservation.
In the lower part of the church there have been no frescoes any longer since the repairs carried out in the 1930's, except for a 'Crucifixion' with sorrowful creatures that can be observed in the small area at the base of the bell tower.

Crucifixion This fresco dates back to about 1360 and belongs to the Master of Offida's considerable catalogue. He is an anonymous painter formed in the marchigiano-riminese pictorial sphere, who left his highest works to the Farfa provostry of Santa Maria della Rocca.
The 'Crucifixion' of S.Maria a Pie' di Chienti shows remarkable stylistic analogies with the dead Christ of San Pietro Martire in Ascoli and the expressive pictures of the sorrowful creatures recall those of the bystanders of the 'Deposition' of San Pastore church in Ripatransone.

Fresco Other slight remains of frescoes are observable in the room next to the sacristy. They date back to the XV century, they are very expressionistic and reflect the figurative culture of the hands working at that time by Santa Maria del Piano in Loreto Aprutino.

In the upper part of the church, on the right of the triumphal arch, a gotic niche contains the elegant image of the Virgin Mary with the Infant Jesus and some Musician Angels; in the intrados of the arch other graceful, holy images follow one another.
This is again a Master of Offida's fresco that suggests several analogies with the paintings treasured in Pedara in Roccafluvione and in St. Thomas church in Ascoli Piceno.

Better preserved is the decoration of the upper part of the bowl-shaped apse that includes the almighty Christ, St. John the Baptist and Our lady of Mercy that gives shelter to her votaries under her mantle.

In the lower part of the apse there are 'The Nativity', the 'Adoration of the Magi', and the 'Presentation to the temple', devided one another by decorated filets with marble tarsias.

A wrong interpretation of the inscription extending all along the bottom of the frescoes made experts think that their author had been Giovanni di Ugolino from Milan, but later on it was shown his non-existence.
The current stylistic analysis of the frescoes allows us to ascribe them to an eclectic Master from Marche working between the XIV and the XV century.

We ascribe to this same anonymous artist the 'Annunciation' painted on the right wall of the upper part of the church. Here there is also a characteristic ex-voto reproducing a ship the yard of which being broken by a storm and later rescued by the Virgin.