Monuments

The largest Marian sanctuary in the Algarve.

According to the Visits of the Military Order of Santiago of 1565, the Hermitage of Our Lady of Mercy of Loulé was built in 1553. The spot chosen was immediately next to the urban centre, on top of a hill, next to an important road that has linked São Brás de Alportel, Loulé and Boliqueime since the Roman era.

This hermitage is currently part of the Sanctuary, which is part of the San Sebastian Parish Church Factory, a modern temple built in the 20th century known as the "Sanctuary of Our Lady of Mercy", also venerated with the title of "Sovereign Mother", according to a Decree from the bishop of the Algarve, with contents of the 1230 Canon, dated April 10, 2016.

With a tradition connected to the Marian cult dating back to the 16th century, this Catholic temple has become since then a place of pilgrimage, in which two annual celebrations take place after Easter, the Small Feast and the Big Feast, in honour of the Senhora da Piedade respectively on Easter Sunday and two weeks later, on the third Sunday, being one of the largest religious gatherings in Portugal, south of Fátima.

Towards the end of the 16th century, the patronage of this temple fell to the House of Loulé, which was also made responsible for the hermit and the organisation of the main feast, held "on the Monday after the Easter Octave." It is known that an Image of the Lady of Mercy was commissioned: an image of perfect shape, Mannerist style; a wooden sculpture of faultless creation.  It was likely executed by a Faro artist in the late 16th or early 17th century. It seems to have been carved later on, by the painter and gilder Diogo de Sousa and Saar, around the year 1764. The original altarpiece of the chancel, which was used for worship until the start of the 18th century, also dates from the same period. It was built in 1760 by the Latin engraver João da Costa Amado.

The earthquake of 1 November 1755 caused profound and significant damage to the building, especially in the main chapel, where the original altarpiece was destroyed. A new one was made the following decade (1760-1764), attributed to the Rococo engraver João da Costa Amado, in rococo style. It would later be gilded by the painter-gilder Diogo de Sousa e Sarre, also author of the paintings on the chancel ceiling, nave and sacristy.

At the end of the 19th century, the main facade was remodelled and ten stucco paintings were painted on the side walls, inspired by the Passion of the Lord, by Faro Painter José Filipe Porfírio.