The relics of San Teodoro the Martyr, now displayed in a case within the Church of Carmine, arrived in Vasto on December 4, 1751, in a solemn procession. They were a gift to the city from Marquis Diego II d’Avalos.
The remains of the saint, who was acclaimed as the new patron saint by the citizens in place of the Assumption of Mary, were entrusted to the Counts de Nardis, who placed them in the family chapel of their palace on Via San Giovanni.
San Teodoro’s tenure as the city’s patron saint was short-lived. In 1827, following widespread public demand, he was replaced by San Michele the Archangel, a symbol of the triumph of good over evil and the defeat of darkness—values particularly cherished by the Carbonari. Notably, in 1820, the Carbonari had publicly awarded San Michele the honorary title of Grand Master.
The body of the now-renounced patron saint remained for 150 years in the chapel of the palace, which had since been acquired by the Ciccarone barons. It wasn’t until 1970, following the Ciccarone family’s departure from the palace and the closure of its chapel, that the relics were moved to the Church of Carmine, where they are now venerated by the faithful.
But who was San Teodoro, and why was his cult promoted in Vasto?
With no direct sources, it is difficult to answer definitively. The fact that he is always referred to as a martyr suggests that the relics might belong to San Teodoro of Amasea, a Roman soldier martyred in 306 AD under Galerius.
Although there are several saints named Theodore, it is noteworthy that the medieval popularity of San Teodoro —patron saint of Venice before San Marco and later of Brindisi— was based on iconography similar to that of San Giorgio and, in some ways, San Michele. San Teodoro is typically depicted armed with a spear, slaying a dragon.
The decision of the d’Avalos family to bring the relics of another Roman soldier to Vasto, following the donation of San Cesario’s remains by Marquis Cesare Michelangelo to the Church of Santa Maria, suggests an intention to align popular devotion with Catholic orthodoxy. This effort may have been aimed at centralizing the widespread veneration of San Michele, which was already well-established in the city.
What is certain, however, is that the cult of San Teodoro left little lasting impact on Vasto’s cultural heritage. Today, there are no paintings or works of art dedicated to him in the city.
