Discover the Church of Maria SS. of Carmelo

Feast Madonna del Carmelo

History and devotion off the "Nazareno" San Giovanni Gemini

In the month of July

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Past feasts archive

The origins

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History and Devotion

The image that a community holds of itself emerges from a long process of the sedimentation of faith, art, and popular traditions. Often, these elements are so intertwined that they become inseparable, each enhancing the value of the others. The town of San Giovanni Gemini and its devotion to the Madonna del Carmelo, which has shaped its history for five hundred years, serves as a prime example.

This devotion began with the founding of the town, initiated by Countess Margherita Abatellis, who ordered the Carmelite fathers from the church of San Biagio in Cammarata to move to San Giovanni Gemini. There, they were welcomed by the brothers of the Confraternity of San Giovanni Battista. The brothers sold their church and constructed an adjoining oratory, the present-day San Giuvannuzzu. The convent saw the flourishing of friars of holy life, such as Fra Paolo da Cammarata, Fra Filippo da Cammarata, and P. Santo da Sutera. Thanks to their efforts, the convent was adorned with a cloister featuring twenty-four columns of white stone and a garden, which is now owned by the Alessi family.

Since then, the history of the Madonna del Carmelo has been closely intertwined with the vicissitudes of the San Giovanni Gemini community. It's a tale of devotion and people weaving together into a complementary narrative, and also the story of a city built upon the signs of faith surrounding the Carmelite church. This church sought to embody in architecture, art, rites, and symbols its connection with Mary.

This devotion has withstood the test of time, remaining rich in human and Christian values without succumbing to the ravages of time.

The Feast

Until a few years ago, the feast of the Madonna del Carmelo was celebrated on the second Sunday of September. Today, it is celebrated in July, between Sunday and the 16th of the month, the day dedicated to the Madonna. However, in ancient times, after being preceded by seven Wednesdays, it was solemnized on Pentecost Sunday, as indicated by historical documents.

On March 31, 1677, the Bishop of Agrigento, Msgr. Francesco Rini, granted permission to display the Blessed Sacrament during the feast of the Madonna del Carmine, recognizing the desire of the devotees to enhance public devotion by exposing the Divine Sacrament during the seven Wednesdays leading up to the feast day, as well as on the feast day itself.

The celebration was maintained by the heirs of Pietro Alessi, believed to be the ancestor of the current Alessi baronial family, who were granted the chapel of the Madonna with this obligation. This is further confirmed by the legacy of Nicolina Alessi, who bequeathed funds for the celebration of masses "in front of the altar of the glorious Virgin Mary of Carmine, situated in the chapel of the Carmine church, known as the Alessi chapel, where the image of the said glorious Virgin in relief is located."

The feast has always been supported by the voluntary offerings of the faithful, both in kind and, especially in recent years, in cash.

Madonna del Carmelo celebration committee

In our century, despite being marked by significant ideological turmoil that greatly influenced the lives of the people of San Giovanni Gemini, the devotion to Mary has only strengthened. The feast, a manifestation of gratitude and praise to the "Bedda Matri" (Beautiful Mother), holds a special place among the religious celebrations of the liturgical year. From the early days of July, the celebration committee, together with the Cultural Association "M.SS. del Carmelo" and in cooperation with the parish priest, steps up its preparatory efforts.

The feast is heralded by a solemn Novena that draws the entire community to Mary: each evening features the recitation of the rosary, the singing of traditional hymns of joy, and the Eucharistic celebration, all of which remain unchanged. Particularly touching is the event on the eve of the feast, where skilled hands gently lower the statue of the Madonna to be among her people. During the night, a torch-lit intercity pilgrimage brings together the faithful from the parishes of San Giovanni Gemini and Cammarata, culminating at the Carmine church with a vigil.

On July 16th, a Eucharistic concelebration takes place in the churchyard, followed by a procession of the statue on an artistically crafted fercolo made of solid walnut wood by master Carmelo Lupo, a testament to local artisanal pride. A unique feature of the festival is the folkloristic ride on the Sunday closest to July 16th. This involves a lengthy parade of horses, mules, and donkeys adorned with jingling harnesses and saddlecloths embroidered with gold and silk, a tradition with ancient roots tied to the region's agricultural and peasant culture. In the past, the local lord would offer the year's wheat to the Madonna on these richly decorated mounts. Today, while the ride remains a draw for those studying Sicilian folklore and traditions, it has largely lost its original role as an expression of gratitude to the Madonna, except for the "Paliante," the one who carries the "Palio" and, amidst the cheering crowd and band music in the main square, makes a generous offering.

The devotion to Our Lady of Mount Carmel is not merely folklore or an empty tradition but a genuine treasure of Christian faith and spirituality, nourished by the Word of God and the liturgy. It's a legacy that has been passed down to us, and it's our duty to protect, enrich, deepen, and share it. This is echoed in a popular Sicilian verse: "Without Maria, salvation is not possible!"

Madonna du Carminu

The simulacrum

Perched upon an artistic marble altar is the simulacrum of Maria SS. of Carmelo. Crafted by an unidentified artist from the first half of the 16th century, this polychrome walnut wood figure adheres to the traditional iconography of the Carmelite order. It depicts the Madonna indicating the Child with her left hand, upon whom she gently leans her head without turning her gaze, while her right hand extends the scapular. Clad in a high-waisted tunic secured by a belt in Renaissance style, the Virgin is almost entirely enveloped by a voluminous cloak. The cloak's elegant and flowing drapery subtly outlines the form of her body underneath. Despite suffering from unfortunate restorations, a significant portion of the polychrome finish has been preserved. Both the robe and the mantle are adorned with gold gilding, mimicking phytomorphic and geometric embroidery patterns. A lavish band trims the edges of the cloak. The Madonna's knee, polished by countless touches, evidences the deep popular veneration this image has attracted.

Thus, the statue embodies a recurring theme in Marian sculptural works, replicated across centuries with minimal variations. The intricacy of the details and the sinuous folds of the mantle and dress are distinctly characteristic of early 16th-century sculptural art, heavily influenced by Spanish culture and taste, which often adorned effigies with opulent garments embroidered in gold, silver, and silk.

A recent restoration has returned the piece to its former glory after three centuries of arbitrary alterations. The devotional adornments that permanently masked the simulacrum have been stripped away, unveiling the intricacies of its details for direct appreciation.

Discover the Church of Maria SS. of Carmel

There feasts

The feast of the Madonna del Carmelo, until a few years ago, was held on the second Sunday of September. Today, it is celebrated in July, between Sunday and the 16th of the month, the day dedicated to the Madonna. However, in ancient times, after being preceded by seven Wednesdays, it was solemnized on Pentecost Sunday, as evidenced by this document. On March 31, 1677, the Bishop of Agrigento, Msgr. Francesco Rini, granted permission to display the Blessed Sacrament for the feast of the Madonna del Carmine: “The devotees of the glorious Lady of Carmine have requested that, to solemnize her feast on the day of Pascha of Pentecost, within their church, which follows seven Wednesdays, in between one Pascha and the other, to enhance public devotion, they wish to expose the Divine Sacrament during the said seven Wednesdays, as well as on the feast day itself.”

The celebration was conducted by the heirs of Pietro Alessi, believed to be the ancestor of the current Alessi baronial family, having been granted the chapel of the Madonna with this obligation. This is confirmed by the legacy of Nicolina Alessi, who bequeathed funds for the celebration of masses “in front of the altar of the glorious Virgin Mary of Carmine, situated in the chapel of the Carmine church, called the Alessi chapel, where the image of the said glorious Virgin in relief is located.”

The feast has always been supported by the free offerings of the faithful, both in kind and, especially in recent years, in cash. In our century, despite facing significant ideological challenges, which have greatly influenced the life of the people of San Giovanni Gemini, the devotion to Mary has been reinforced.

The feast, an expression of thanksgiving and praise to the “Bedda Matri,” is particularly significant within the religious celebrations of the liturgical year. From the early days of July, the celebrations committee, the Cultural Association “M.SS. del Carmelo,” in collaboration with the parish priest, begin their intensive preparations.

The feast is preceded by a solemn Novena that brings the entire community to Mary’s feet: the recitation of the rosary every evening, the singing of traditional hymns, and the Eucharistic celebration remain unchanged. Particularly moving is the event on the eve of the feast, when expert hands gently lower the simulacrum of the Madonna from the altar to be among her people.

During the night, the torchlit intercity pilgrimage draws together the faithful from the parishes of San Giovanni Gemini and Cammarata, concluding at the Carmine with a vigil.

On July 16, a Eucharistic concelebration takes place in the churchyard, followed by a procession of the simulacrum on an artistic fercolo made of solid walnut wood by the master Carmelo Lupo, a testament to local craftsmanship. A distinctive feature of the festival is the folkloric ride on the Sunday closest to July 16th, featuring a long parade of horses, mules, and donkeys adorned with jingling harnesses and saddlecloths embroidered in gold and silk. This tradition, with deep roots in our agricultural and peasant culture, originally saw the local lord offering the year’s wheat to the Madonna on elaborately decorated mounts.

Today, while the ride continues to attract scholars of folklore and Sicilian traditions, it has largely lost its original purpose as an expression of gratitude to the Madonna, except for the figure of the “Paliante,” who leads the “Palio” and, amidst the people’s exultation and the music of bands in the main square, makes a generous offering.

The devotion to Our Lady of Mount Carmel is not mere folklore or an empty tradition but a profound treasure of Christian faith and spirituality, nourished by the Word of God and the liturgy. This heritage, passed down to us, is something we all have a duty to protect, enrich, deepen, and pass on, as a popular Sicilian verse reminds us: “Without Maria, salvation is not possible!”

The Simulacrum of M. SS. del Carmelo

On an artistic marble altar rests the simulacrum of Maria SS. del Carmelo. Crafted by an unknown artist from the first half of the 16th century, in polychrome walnut wood, it adheres to the typical iconography of the Carmelite order. The statue depicts the Madonna presenting the Child with her left hand, upon whom she gently leans her head without turning her gaze, and with her right hand, she extends the scapular. The Virgin, attired in a high-waisted tunic secured by a belt in Renaissance fashion, is almost entirely enveloped by a voluminous cloak. The cloak's elegant and flowing drapery subtly hints at the body's position beneath. Despite suffering from unfortunate restorations, much of the polychrome finish has been preserved. Both the dress and the cloak are adorned with gold gilding, mimicking embroideries with plant and geometric motifs. A lavish band frames the cloak's edges. The Madonna's knee, polished by countless touches, evidences the image's deep popular veneration.

This iconography is a recurring theme in the sculptural depiction of Marian subjects, replicated over centuries with few variations. The detail's richness and the mantle and dress's undulating folds are distinctly characteristic of early 16th-century sculpture, deeply influenced by Spanish culture and taste, which often adorned effigies with exquisite garments embroidered in gold, silver, and silk.

A recent restoration has restored the work to its original splendor after three centuries of arbitrary modifications. The devotional decorations that permanently covered the simulacrum have been removed, allowing for an immediate appreciation of the details.