The church was built thanks to the economical support of its community and it was dedicated to the five patron saints of the town (Aquilino, Gemino, Magno e Donato) to show gratitude for the birth of Federico Ubaldo (1605-1623).
In this same year, a first association of religious people devoted to San Filippo Neri, who were used to gather inside the Oratory of the Sacrament, in the basement of the cathedral, was established. Father Giovanni Antonio Lucci, whose influence on the origin of these gatherings could not be excluded at all, was already part of the religious community of Fossombrone; then he moved to Rome and became one of the most assiduous collaborator of San Filippo Neri, as he was involved in the construction of the church of Vallicella.
In the interior of the church, which is characterized by a vaulted-ceiling single nave, side chapels (three for each side) and a magnificent apse, exuberant stucco decorations (such as statues, cornices, architectural elements and friezes) partially attributed to the sculptor Tommaso Amantini da Urbania (1625-1675 ca.) stand out. Among the pictorical works (currently entrusted to the Municipal Art Gallery), entirely made after the settlement of the Fathers of the Oratory, these three works by the artist Giovan Francesco Guerrieri from Fossombrone are remarkable: the great high altarpiece (1621-1623) with the five patron saints offering the Virgin the prototype of the church of San Filippo, whose appearance should have been the final one after its completion, actually never reached; a Caracci-style San Barnaba Orante (Saint Barnabas Orator) and a San Michele Arcangelo e la Trinità ( Saint Michael Archangel and the Trinity), donated by the Filipino father Michelangelo Azzi in 1625.
Among the other altarpieces, the Madonna con San Giovanni Battista e San Girolamo (The Virgin with Saint John the Baptist and Saint Jerome) by Claudio Ridolfi and the Madonna di Loreto (Our Lady of Loreto), attributed to the Bolognese Giovan Francesco Gessi, pupil of Guido Reni, stand out.