It was built in 1615 by the architect Pietre De Marino and annexed to the already existing monastery (and work of the same architect) in which lived the Brasilian Nuns, that became the Benedictines. In the following century a long period of restoration began, work of the architect Giovan Battista Broggia, which ended in 1780. Later, during the “French decade “ the order was suppressed, forcing the nuns to transfer in San Gregorio Armeno. The Church was deprived of some works of art and the monastery destinated to accomodate the infantry.
Subsequently ,with the return of the Bourbon in the Kingdom, the Church was entrusted to the Congregation of Banco’s Officers, while after the Unity of Italy the monastery was converted into barracks of the Carabinieri.

Reachable thanks to the flight of steps built in 1867, the facade was realised in stone and bricks and is divided in two orders. The second order has 3 big windows framed by pilasters, while the first one enters a portico on which the chorus of the nuns is placed. The interior has a single nave with three chapels on each side and presents a valuable altar of the Eighteenth century. On the walls of the apse area there are three paintings: on the left wall St. Potito that saves Agnes, the possessed daughter of Antonino (Giacinto Diano,1784), in the centre the “ Martyrdom of St. Potito” (Nicolò De Simone ,1654) and on the right wall St. Potito that tears down an idol. In the first chapel on the right there is a valuable painting by Luca Giordano, dated between 1663 and 1665, depicting the Madonna del Rosario (Lady of the Rosary). In the third chapel on the right,instead, is preseved another painting representing the Immaculate, work of Giacinto Diano, dated in 1791. In the first left side chapel there is a painting depicting the Calvary, anonymous work of the XVII century.

On the second left side chapel a laudable decoration has been realised in stucco, reproducing Saint Gaetano da Thiene and a group of little angels, likely coeval to the restoration of thevroom, happened in 1880, as indicated by an iscription on the floor (some sources indicate as possible author a certain D. Caponello, name indicated by the Book of the Rule held in hand by one of the angels). Finally, the third left chapel preserves a painting by Andrea Vaccaro,portraying the Virgin between Saints Anthony and Rocco. In the sacristy are placed, instead the paintings of Pacecco De Rosa, with the Virgin of Purity to whom the Saints Antonio and Giuseppe introduce four brothers among the souls of the Purgatory. Another portraying of the Virgin Mary and the Saints with the sacraments among the souls of Purgatory is attribuited to Domenico Mondo..

Located in the ancient convent of the Padri Teatini in Piazza S. Antonino, today the Town Hall.
Here, in the 1920s, the first cinematographic shows were held in the Sorrento peninsula; at that time the theater was called “Sala Tassiana” but, in summer, the performances were held outdoors,
in the area behind the large convent building that was once the Teatini garden.
The shows, as can be guessed, were also theatrical; the first summer opera season dates back to 1921 (there is still a poster), which was organized by the lords Massa, Mastellone and Russo, true pioneers of entrepreneurship in the field of shows.
The first cinema screenings date back to the silent era. Then, the projection apparatus worked manually and the silent films were accompanied on the piano by the maestro Gennaro D’Esposito, father of Salve D’Esposito, the famous author of the song Anema e core, and on the violin by the maestro Antonino De Lizza, both from Sorrento.

In 1933, with an official agreement, the Autonomous Company for the Care, Stay and Tourism Station of Sorrento entrusted the management of the environments of the Theater, both indoors and outdoors, to Antonino Casola, Luigi Cozzolino and Vincenzo Mastellone. Mediator of the agreement was the young and dynamic Count Francesco Garzilli. With the passing of the years the only manager of the performances of the Tasso Theater remained Vincenzo Mastellone, who was later replaced by his son Luigi. Even today the Mastellone family continues the activity.
Noteworthy character Vincenzo Mastellone. He was born in Sorrento in 1881 and died there in 1956. His main job was as a doorman at the Grand Hotel Vittoria, but he also invented a car rental service which was a great success not only among the Sorrentines but above all among travelers who they visited Sorrento.

Theatrical entrepreneurship was therefore a secondary activity for Vincenzo and was certainly born out of personal passion and cultural interest.
Luigi Mastellone, was a worthy continuator of the work of his father Vincenzo. He increased the activity of the Teatro Tasso. Among other things, he eliminated the old stages and created two-storey stages more functional to the needs of the public.
The restructuring was entrusted to the engineer Amerigo Gargiulo. Luigi Mastellone himself, in the Sixties, still restructured the theater and provided it with a definitive covering (previously it was covered with a tent). Many structures and reminiscences of the past, some of which date back to the ancient monastic function, were unfortunately canceled. Today, finally, even the Cinema Teatro Tasso, thanks to the foresight of Maurizio Mastellone, has been returned to the city. The hall now has a capacity of 310 seats in the stalls and 150 in the gallery, it has recovered some of the structures of the Theatine monastery. The original architecture of 1608. The walls are being restored with the so-called “cuci e scuci” by old and highly skilled masters.