Consecrated to the cult of a Dark Madonna, the holy building, lying in a dominant position as against the central Tasso Square, is rich in works of art of various times.
In a dominant position as against the central Tasso Square, the Church of Carmine is among the most frequented ones in Sorrento.Its plan develops itself along one nave, at the end of which a precious painting on wood stands out (set in an artistic frame surmounted by big rays and supported by two big angels), reproducing the Dark Madonna of Naples.
The area of the Presbytery and of the apse were object of relatively recent restoration work dating back to the ‘70s of last century.
They were managed by Architect Gaetano Mascolo and also caused the demolition of the old altar, of the balustrades and of the pulpit situated in the nave, besides the creation of a new assembly altar.
Along the only nave, moreover, we can admire three small marble altars, coming from the suppressed convent of S. Vincenzo (which, in the past centuries, was entrusted to the Gesuites) and adorned with pictures representing respectively the Virgin with St. Therese of Avila; St. Mary Magdalene with S. Andrew Corsini and the Madonna; the Madonna at the foot of the Cross with St. Angel, Carmelitan martyr, and St. Francis of Paola. Besides these ones, at the right of the entrance, we can admire a painting on which the Virgin Mary, Saint Dominique and Saint Albert of Sicily are depicted.
Under this picture there is the sepulchral epigraph of friar Nicola Falangola who died in 1698 after wearing the cassock of the Order Ospitaliero (an honour reserved only to those belonging to very noble families).
Four more wonderful 18th-century paintings, made by Neapolitan artists, embellish the perimetric wall. They are paintings which .- starting from left towards right – depict the Madonna in the Temple; Saint Anna and the Madonna; the Annunciation and the Assumption of the Virgin into Heaven.
Two more paintings (by Cingeri), located in the transept and representing the adoration of the Three Kings and of the Shepherds, contribute to making the artistic heritage of the Church of Carmine even more complete.
Still in the apse we can note, on the right, a panel in sculptured marble of the 16th century with a case in the centre (it was used to keep oils for invalids), whilst, on the left, the sepulchral monument of P. Bartolomeo Pasca (1589), the earliest Carmelite prior in Sorrento.
Finally, on the floor, we can notice a lot of tomb slabs reproducing the stems of some of the most ancient noble families from Sorrento.
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