The Church of Santa Maria del Carmine is considered the most beautiful in Vasto from an architectural perspective, as it is the only one with a defined and cohesive style, both inside and outside. Its façade and bell tower, constructed between 1758 and 1761 based on designs by architect Mario Gioffredo, are excellent examples of late Neapolitan Baroque.
The style, reminiscent of Vanvitelli, incorporates Neoclassical elements, particularly in the structure of the façade, where four large pilasters, or half-columns, appear to support the triangular pediment, reminiscent of ancient Greek temples. Baroque influences are evident in the balustrade of the central window above the main portal and especially in the bell tower. The tower’s irregular trapezoidal base integrates seamlessly with the church’s structure, creating an impressive sense of perspective. The monumental double staircase that now leads to the church, however, was added in the early 20th century.
The apse of the church is not visible from the outside, as it is enclosed within a 17th-century palace that now serves as the Bishop’s Curia. This building was once the seat of the town council and was originally commissioned by Don Diego d’Avalos in 1638 to house a convent for the Lucchesi Fathers. The adjoining college became Vasto’s most significant cultural institution for the next two centuries.
Inside, the church of Santa Maria del Carmine is shaped like a Greek cross and dominated by a large central dome. The interior features five altars, each adorned with 18th-century paintings.
The most notable is The Presentation of the Virgin Mary to the Eternal Father by Crescenzo La Gamba, which graces the main altar. The two smaller chapels located near the entrance contain works by the Neapolitan painter Fedele Fischetti, including The Ecstasy of Saint Teresa of Ávila and The Crucifix with Saints. On the left side of the presbytery, there is an intricately designed 18th-century Neapolitan pulpit made of inlaid wood and bronze, a fine example of craftsmanship from that era.
The chapels within the transept arms add further historical depth to the church. The left transept features the Chapel of Saint Nicholas, which includes the painting Our Lady of Mount Carmel with Saint Nicholas and Saint Andrew by Giulio de Litiis, a prominent artist from Vasto.
The original church that stood on this site in the 14th century was dedicated to Saint Nicholas and served as the spiritual center for the local Croatian Orthodox community. The right transept is home to the Chapel of Saint Benedict, where visitors can admire Saint Benedict in the Cave, painted by Nicola Tiberi, another artist from Vasto, best known as the drawing master of poet Gabriele Rossetti. Beneath the altar of this chapel lies a relic of San Teodoro, who served as the patron saint of Vasto until 1827. That year, the title of patron saint was officially transferred to San Michele the Archangel.
The interior decoration of the church is completed by elaborate stucco work created in 1762 by Michele Saccione, who was also active in Vasto’s Church of Sant’Antonio di Padova during the same period. Although the original colors of the stucco have been lost over time, the uniform white that now covers it lends the space an air of elegance and solemnity, perfectly complementing the architectural harmony of the entire structure.
