The information relating to the current church of Santa Maria delle Grazie comes from a communiqué from don Antonio delle Grottaglie, beneficiary of the church, to the archbishop Giovanni Angelo de Ciocchis in 1752. Don Antonio delle Grottaglie stated that the church had been endowed with a benefit in 1486 from Angelo Pilato.

It is probable, therefore, that the church was erected by Pilato, while we know with certainty that the church was, for a long time, officiated by priests from this family. In fact, more than a century later during the pastoral visit of 1606, don Antonio Pilato stated that he possessed the benefit under the title of Santa Maria della Grazia.

The church had three altars; one main altar and two lateral altars. Currently, only the main altar remains, in poor state and recently worked on, and the remnants of the first altar on the right; where there are fragments of a fresco probably from the 1700s which depicts two angels who bear a crown. The historian Cataldo Antonio Mannarino also writes about the church of Santa Maria della Grazia at the end of the 1500s. Mannarino describes the devotion of the citizens of Mesagne to this church and he also refers to the Pilato family as those who had supported the construction of the church. The earthquake of 1743 damaged the church; as confirmed by Delle Grottaglie in 1749.

The building has a central nave and is oriented along the north-south axis. It has a very simple gabled facade. Inside, there is a papier-maché statue of the Virgin seated on a throne of clouds bearing Jesus in her right arm from the XIX century by Ferdinando Cellino. The church is a destination of pilgrimage and devotion for the people of Mesagne who celebrate the Tuesday after Easter here. The most important part of the church of Santa Maria delle Grazie, however, is found at the rear, in fact, in a specular style, with the facade of the church oriented towards the south. The gabled facade is still perfectly visible and has an architectural feature on the architrave that is possibly of Byzantine origin. Internally, the spaces have different structures; however, they are still home to splendid frescoes probably from a period between the IX and XI centuries. It is interesting to note how, for several centuries, these frescoes have remained unknown because, both in the pastoral visits and the descriptions by historians, there is no mention of them. The frescoes depict two saints and they are part of the Byzantine tradition. Under the church, there is a cistern to collect rainwater. However, this cistern has contributed to some degree of rising damp in the church.