Not far from the town center, on the summit of the “Balzata,” you can see the Sanctuary dedicated to the Archangel Michael, the city’s patron saint, who is solemnly celebrated on May 8th and September 29th. This commemorates the miraculous event that occurred way back in 1715, when droplets of a prodigious liquid oozed from the effigy of the Saint. It was on that exceptional occasion—joined in the religious exultation by a crowd of devotees, civil and clerical authorities, and men of proven faith and knowledge—that it was decided to build a more worthy abode for the Saint, to be constructed on the site of the pre-existing mountain chapel.

Furthermore, numerous epigraphic testimonies are preserved in the Sanctuary, commemorating the phases of its construction, the names of those who were involved in its construction, the devotional dedications, and the numerous attentions lavished upon it by the Bishops of Capaccio.

“… on a solitary hill among the Apennine mountains… stands the devout temple dedicated to the Glorious Prince St. Michael, from whose image, painted on a wall of the altar since 1715, often flows the prodigious liquor, marvelous in curing every kind of ailment.” (C. Gatta, Memorie topgrafico-storiche della Provincia di Lucania, Naples, 1732, p. 73).

“There, the pilgrim need not imagine the grandeur of a sumptuous basilica, where the pride of the marble, paintings, and gold is displayed, but rather a simple structure erected on the hardness of the flint, composed of rough mountain stones.”

“In the year 1715, finding myself governing this city of Sala as elected Chief, upon hearing of such a great miracle, I immediately convened a public council… whereupon two members of the order of First Gentlemen were immediately created and elected by the public to govern the said Sanctuary.” (C. Gatta, La Lucania illustrata, Naples, 1723, pp. 79-80; 90).

“The church is beautiful, large, and richly decorated; it has three naves with arches, executed with good designs and mastery. Four pilasters arranged in two rows divide the high walls, decorated and adorned with stucco cherubs. A magnificent marble high altar stands in front, with a statuette in white relief, transported from Mount Gargano by farmers from Sala, who in times past would come there for the harvest.” Equipped with a balustrade and a chapel-like backdrop, behind which, on the wall opposite, an ancient frescoed effigy of St. Michael can be seen. There are four small chapels with their respective altars and an organ built by Bishop Raimondo. The western entrance door is narrow.” (F. Rossi, Chronicle of the city of Sala Consilina resulting from the destroyed and incinerated cities of Consilino, Consilina Lucana and Marcelliana, Sala Consilina, 1900, pp. 92-93).