Numerous minor paintings hung on the walls. Sepulchral inscriptions dotted the floor and walls. The stucco coat of arms of the order is preserved in the vault of the church.
Repeated destruction spared very little of the wooden works: the antependium and tabernacle of the high altar (stripped of all statuettes) are preserved in the Rosary Church, while the remaining wooden carving was razed to the ground and destroyed, as were the other altars and the pulpit. The sacristy cupboard had been stolen but was recovered. All the paintings by Gabrielli (with the exception of the painting of the Eterno, which was stolen) and the painting by Pulzone were saved, as well as the polychrome statue of St Felix, and the Crucifix, which adorn the Church of the Immaculate Conception. The Church of the Rosary also houses the Spanish painting of Our Lady of the Abandoned, the 18th-century paintings of St Anthony of Padua and St Bonaventure, and a modest Madonna dell'Itria. Smaller paintings (St Michael, Blessed Bernard of Corleone, The Last Supper) are kept at the Immacolata. Behind the church is the entrance to the monastery, with a courtyard open to the street, at the centre of which there is said to have been a cistern: the building is arranged on three sides and the entrance must have been barred by a low wall, a short section of which survives with a decorative semi-column. A similar semi-column is preserved on the adjacent rear wall of the church and a sundial can still be seen above it. An arch leads into the second narrow square courtyard. The building, punctuated on the outside by sober stone architraved windows, had corridors on the inside along which cells and other rooms opened up, which are still in place and were abolished in the course of the work of adaptation to another use.
Chillemi F. Milazzo città d'arte. Disegno urbano e patrimonio architettonico, Messina 1999.
