In the center of the presbytery, since 1688, the main altar in white Carrara marble stands, with angels and a scene of the apparition, by Giovanni Grassi with the collaboration of Giovanni Comin. The icon of the Madonna and Child is attributed to Bellunello or the Bellunellian circle (1480?); in 1992, the canvas of the Wedding at Cana by Glauco Benito Tiozzo was added. The compartments of the vault are by Filippo Zaniberti (Virgin nursing a sick person, Apparition of the Virgin to a monk icon painter, Miraculous foundation of the basilica of S. Maria Maggiore, Miraculous intervention of the Virgin during the battle).
The large lunettes on the walls with Birth of the Virgin and Assumption of Mary are by Baldassar d’Anna; while on the two overdoors there are the Adoration of the Shepherds and the Adoration of the Magi attributable to Giacomo Apollonio (?).
The side chapels, initially dedicated to S. Valentino and S. Rocco, were rededicated by the Dominican fathers in 1722 to the Holy Rosary and to S. Domenico. The previous altarpieces are now preserved in the choir (S. Valentino) and in the old parish church (S. Rocco), both works by Baldassar d’Anna.
The choir stalls in two orders, attributable to Friulian craftsmanship, are on the walls with canvases of Dominican saints, coming from Venice.
The choir loft is interesting, rebuilt and repositioned in 1746-47 at the main door from the left door, with a new organ attributed to Pietro Nacchini. In the choir loft, the five works by Baldassar d’Anna have been relocated, representing the Capitello della Madonna, Translation of the fresco of the Virgin from the capitello to the Sanctuary, Martyrdom of S. Catherine of Alexandria (circa 1612) and four ex-votos.
In the sacristy, the canvas “Ex-voto dei bresciani” (1630), a canvas of S. Vincenzo Ferreri (attribution to Nicolò Bambini) and three canvases of Dominican saints attributable to Giuseppe Buzzi are preserved.
In 1923, the bells of the bell tower were recast, taken by the Austro-Hungarians during the 1917 invasion.
