This church was named after smaller semi-caves that were on the site where it was built.
Construction began on the land donated by Frano de Pelegrinis at the very beginning of the 16th century. According to archive documentation, it can be seen that in 1521 it was still not finished and that the builders had increased their dimensions during the construction. There are various styles visible in its appearance: gothic, renaissance, and baroque. Its oldest part, the central one, was built in the first half of the 16th century and brings the characteristics of transient gothic and renaissance styles. The main door has fluted doorjambs on which are two semi-capitals supporting the door transom. Above the door is a semicircular lunette, that is simple and well-defined, and adorned with pinions. Even the rounded window of the façade is of the Renaissance period whilst an attenuate distaff with three bells is the highest in Dalmatia.
The church’s naves are entered through two baroque doors over which are double-winged pediments and above them rounded windows. The church’s interior is divided by broad semicircular arches on masonry pillars into three naves. With this, the unity of the space was achieved illuminated by the long narrow windows of Romanic and gothic exterior, of which some were transferred from the old walls which dated back to the 16th century. The posterior part of the church was also enlarged with a baroque shrine, the chapel of St Vicko, and a sacristy.
The initial appearance of the altar of the late Renaissance style was removed at the beginning of the 19th century. From the altar polyptych created by the famous Venice painter, Girolamo da Santacroce the central part was preserved showing the Madonna and Child on the throne, St John the Baptist, St Peter, and above all of them God, the Father whilst the remaining part was replaced by a marble altar. In the church other parts of the polyptych have also been preserved; part of the side wing in which was there was a partial view of St Stephen and a dais that is has been completely preserved. The central field with a partial view of the Dead Christ was used for the doorframe of the tabernacle, whilst the left and right sides are lined with figures of the apostles. At the edges of the dais, on both sides, four kinsmen in white clothes are praying with lowered hoods.
