Madonna Annunziata Sanctuary

To the left there is the altar of the Madonna delle Grazie, (the picture of 1646, is attributed to Giuseppe Tomasio), that of Jesus and Maria, the San Giuseppe chapel and the San Michele Archangel altar with an elegant arch of baroque style.

At the end of the chorus stands the mayor altar dedicated to the Annunciated.

The Chapel of Cristo alla Colonna opens with a travertine arch all in gilded bas-relief and differently colored, with the pediment surmounted by three spires worked to flower patterns.

Vases with several friezes and flowers on the inside and outside adorn the columns; those of the base to the right are supported by winged lions, those to left by animals with sphinx face, rather than lions.

The travertine arch, very beautiful work of art of the Renaissance, is placed in the room of the big entry to the chapel, which makes presume that it was taken there and raised afterwards.

In the niche of the chapel is found the statue of Cristo alla Colonna, which, according to some people, was taken from the church of the SS. Christ, above San Vito, buried by the lava.
The tradition says that it is the work of a brontese shepherd. 

The statue, in paper-pulp, shows Christ in natural size, with hands tied to the back, bound to a column, the bleeding body covered with sores and the face expressing human pain.

The work evokes with great realism the drama of the passion; every year, on Venerdì Santo (Holy Friday), it is taken on to a very heavy wooden frame in procession; he precedes all the other statues: the Crucifix, Christ Dead and the Grieved Lady.

The Annunciated

The Annunciated ext to the chapel is found a rectangular wooden little balcony supported by big corbels to the altar and, on the left, a wooden pulpit with canopy.

Inside the church, on the greater altar, surmounted by a travertine (1549) arc, is placed the Annunciazione (marble group of the Annunciated virgin and the Angel Gabriel by Antonio Gagini), to which the brontese people are devoutly bound by feelings of ancient and deep religiousness.

The Annunciation by the Gagini is work of big value: it is inserted in the Renaissance artistic vein that, in the Gagini school, melt with new forms of Tuscan and Roman mannerism.

The two figures of the Virgin and the announcer angel compose an animated set with alive, spiritual tension. The high bodies, of exquisite proportions, vibrate inside the garments from the fluent drapery to their movements. The Virgin's  face of young girl expresses reverence and anxiety, while Gabriel, lightly genuflect, looks at her with eyes full of admiration.

The statues were commissioned by the noble Niccolò Spitaleri, on behalf of the brontese citizens, to the sculptor of Palermo Antonio Gagini, with a deed drawn by the Notary Dimitri Of Palermo of January 21st, 1540 (XIII Indizione).

Their cost was 48 onzes and they were delivered to  Bronte few years later, in 1543, taken through the woods of the Etna on a wagon towed by oxen.

About the Annunziata Virgin the popular fantasy created several legends. One tells that: «Was bartered by Greek pirates to a few brontese shepherds with a quantity of albaggio» (a coarse drape which, until some century ago, was still woven in Bronte by the monks of the Grangia della Ricchisgia.
«These shepherds asked a gentleman for a pair of bulls to transport the two statues to Bronte. He gave them two wild, indomitable bulls, which to the sight of the Virgin bowed and became mild and subdued: Along the journey the trees of the forest were moving away to the passage of the wagon. Arrived to Bronte the bulls did a turn and marked the site where the magnificent temple had to rise». (Benedetto Radice, "Churches, convents, public buildings in Bronte ", 1923)

«The church is really facing mount Etna. It seemed to the brontese folks that an arcane voice had gone out from Maria's lips saying : Brons civitas mea dilecta protegam you semper». (Gesualdo De Luca, "History of the Bronte town ", Milan 1883).