Chiesa beato g. licio caccamo

The church was founded in 1487 on the initiative of Blessed Giovanni Liccio himself and the work was completed in 1492, although many renovations took place.

The facade is very simple, the only decorations being the central portal and the effigy of the Virgin Mary carved in marble above it, the Virgin surrounded by angels who throw the anchor of hope to the people.

The entrance on the left leads to the buildings of the old monastery , now used for other purposes. The other two lead to the interior of the church.
The plan of the church is rectangular but irregular, the main nave with the altar is separated by a row of four columns from the right aisle on which three side altars face and at the end is the door to the sacristy.

The ceiling of the nave is half-timbered , inspired by the Norman style, while the nave is covered by a barrel vault.

Notable works:

In the Chapel of the Crucifix (the first from the entrance) there is a painting of Our Lady of Sorrows from the 18th century at the foot of the wooden crucifix and a painting by Vincenzo La Barbera from the now closed Church of Our Lady of the Poor Visit from 1603.

The roof reveals a stucco depicting the Eternal Father holding the triangle of the Trinity and the globe surmounted by a cross.

The second chapel (dedicated until recently to Our Lady of Lourdes) is dedicated to Blessed Caccamese, and contains his original 1558 tomb . It also contains an oil on canvas attributed to Vincenzo La Barbera of the Madonna and Child between Saints Peter Martyr of Verona and Anthony of Padua; the Glory of Blessed John by Giovanni Bonomo from 1750; the Trinity and Crucifixion with Saints Michael, Francis, Dominic and Andrew from the late 16th century by Antonino Spatafora, and finally the beautiful silver urn containing the remains of the Blesseds used for the procession through the streets of the city.
In the last chapel , dedicated to Our Lady of the Rosary, one can admire the most precious work of art in the church , namely the marble statue of the Madonna of 1516 by Gagini, very delicately made above the altar in Baroque style.

Willem Vandenameele