A picture of the Madonna painted on the wall of the Fausto amphitheatre, at that time downgraded to bishopry garden wall, and the religious feeling of numerous citizens of Terni, were put together and resulted in the church of Santa Maria del Carmine, built around 1600. In order to protect that sacred painting from the elements, at first, a porch was built which thereafter became a twenty foot by eighteen foot chapel, thanks to donations from the faithful. Tiny if you consider the fact that the "Terni foot" measured 335 millimeters therefore the church was about seven metres by seven metres. Something more was required, especially after the establishment of a Confraternity which took its name from the image of the Madonna, and which became so numerous in such a short time that the little church was insufficient. It is still possible today to admire the church subsequently built inside the gardens of the Passeggiata park. The plaster of the amphitheatre wall, on which the Madonna had been painted, was removed and taken to the main altar of the new structure
In the meantime, the Confraternity increased its number of members and its financial consistency, in such a way that - at a certain point- among its tasks was that of lending money. In substance it became provider of mortgage loans guaranteeing by means of applying its coat of arms on the buildings erected in the town. However, the new temple was built with calm seeing as it took over a century. This was embellished with works of a certain value: the dome was frescoed by Ludovico Carosi, the ceiling clad in a large canvas which for years was believed to be by Girolamo Troppa and now attributed to Paolo Barla and Pietro Taloni.
The church has witnessed countless vicissitudes: first it was a camp for the French soldiers in 1799; then the cancellation of the Confraternity by the Kingdom of Italy, which led it into total abandonment. while the ceiling was covered with a large canvas measuring about 150 square metres, depicting the Assumption, for years attributed to Girolamo Troppa. An attribution which was afflicted by many doubts, however, due to the advanced degradation of the canvas. A document found by the Cathedral priest, don Carlo Romani, subsequently shed major light not only on the scene depicted (Elia who ascended to heaven on a fiery chariot) but also the artists who were possibily Paolo Barla and Pietro Taloni. The church witnessed many events which put a strain on its state of conservation: first the cantonment of French soldiers during the 1799 Roman Republic; then the cancelling of the Confraternity by the united state after 1870 and subsequently the total abandonment by the Diocese which considered it as a surplus seeing as there were other large churches in the area, fir st of all the Cathedral.
Towards the end of the last century the de-consacrated church of Santa Maria del Carmine became the property of the Terni municipal. It has been recuperated and restored to be used as an auditorium.