All mid-14th century the construction or, more likely, the rGothic renovation of the church of Sant'Onofrio Eremita in San Giovanni Rotondo; the stylistic direction towards which the builders are oriented derives from the contemporary religious architecture widespread in Capitanata, on a late Romanesque basis but innovated by the presence of now frankly "Gothic" elements in the members of the ribbed pointed vaults, in the archivolts and in the elements of the portals: church with a single nave with a "hut" facade, an extradosed apse (also in Sant'Onofrio, before the "cut" of the apse), bare and large walls of severe essentiality, with a wooden truss roof covering.
The church presents itself to a single nave, approximately 38 meters long and 7 meters wide, and equipped with a more simplified portal compared to the more sumptuous and "gothicized" ones of contemporary churches. A large circular rose is created on the gable façade. An additional rose of smaller diameter is inserted into the surface within the circumference of the rose.
The somewhat corroded limestone epigraph placed at the top of the portal can also refer to this period. Although the text is now almost illegible, one is still able to read the bottom of plate one dating certainly after 1320 (from 1320 to 1335).
Inside the church, high up on the wall to the right of the portal, near the choir balustrade built a few decades ago, a stone ashlar with the representation of a lily is preserved, probably the Angevin heraldic coat of arms.
In 1627 by will of Misters Michele and Elena Cavaniglia it was decided to found a Dominican convent in San Giovanni Rotondo, transforming the church of Sant'Onofrio into a college intended in particular for friars from Illyria. In 1630 the church had not yet been completely renovated and the college building was in its rough stage to the point that in 1652 the project finally stalled.
Francesco Nardella reports to 1597, date engraved on the top of the first arch, the realization of a first restoration. On that occasion, the five transverse round arches that divided the interior of the church into bays would have been installed; these arches, still visible in the early 900s to Beltramelli who described the church as being in a state of total abandonment, were subsequently demolished following the restoration works carried out at the end of 1948.
In our days they are only two paintings are still visible, attributable to the mature fourteenth century: the figure of a Saint and that of a Saint Nicholas at whose feet the figure of the young Adeodato can be glimpsed. The interior is completely frescoed and covered by a wooden truss roof.