Shrine of Our Lady of Portosalvo

It is not known when this church was first built but presumably the church underwent several renovations and extensions and certainly one of the most important interventions was that of 1745 when the neoclassical-style façade was built.

The facade, marked by pillars each with a small capital, has three levels and is one of the earliest examples of neoclassical architecture in the South.

The church is flanked by a pinnacled bell tower completed in 1775, which retains baroque forms.

A set of granite steps lead to the church dated 1863; these were made fully visible after the refurbishment of the church porch in 2005. After stepping through the beautiful granite portal you can admire a magnificent pipe organ which was inaugurated in 2017, a close replica of the organ that was destroyed in the 1960s.

The polychrome marble main altar is where a painting of the Virgin of Portosalvo is kept. This shows the Madonna seated in heaven and surrounded by angels. Below them the village of Parghelia with its beaches and boats can be seen. Tradition has it that this painting came by sea from the Far East, saved from the iconoclastic fury of Leone Isaurico. Studies have shown, however, that the painting dates back to the period between the 17th and 18th centuries and it is thought that it may have replaced the original effigy.

Above the four side altars are eighteenth-century canvases depicting the Deposition of Christ, the Death of St. Joseph, Our Lady of Mt. Carmel and our Lady of the Assumption in Heaven

On the side walls next to the main altar there are two valuable canvases, attributed to Solimena’s workshop, depicting the Annunciation and St. Mary’s visit to Saint Elizabeth

It is thought that the four lateral ovals are of the same school. These show St. Mary being introduced to St. Joseph, St Mary’s wedding, the Flight of the Holy Family into Egypt and Jesus’ presentation at the Temple in Jerusalem.

Lorenzo Mazzitelli’s neoclassical-style marble tomb is admirable and shows fine workmanship. In front of this is a neoclassical-style pulpit and polychrome marble balustrade in baroque style.

On the ceiling, there is a canvas by Zimatore dating between the end of 1800s and early 1900s depicting the people of Parghelia celebrating after they repelled Dragut Rais’ Saracens in 1665, with help from the Virgin Mary. One of the townspeople who is holding a helmet high on a pike should be noticed in particular: this helmet is on display in the parish museum located behind the church along with other things, such as valuable ecclesiastical vestments, dating from the eighteenth century onwards and votive offerings from people who survived shipwrecks.