1. Convent of S. Maria degli Angeli (S. Pasquale) in Vallaspra di Atessa (CH). The name Vallaspra, meaning "harsh valley," suggests a wild and barren nature, but also the legacy of a troubled historical and religious history with long periods of splendor and apostolate. The history of the Vallaspra convent is tied to the Franciscan spirit and the incessant evangelization of the Friars Minor Observant. Way back in 1408, Tommaso da Firenze, a lay friar and secretary to Father Nicola da Osimo, commissioner of the province of Sant'Angelo in Puglia, stopped his wanderings in the Frentana area before an ancient cone depicting Our Lady of Sorrows with the Dead Christ on her lap, flanked by Saints John and Francis on the right, and Mary Magdalene and Saint Anthony of Padua on the left, venerated in a barren and wild place, precisely Vallassero di Atessa. Captivated by the evocative sacredness of the place and the profound significance of this Pietà, Brother Thomas began construction of the first nucleus of the convent, which was completed and inaugurated just ten years later, in 1430. The Vallaspra convent, named after Brother Thomas after Santa Maria degli Angeli, not only in its dedication but especially in its architectural structures, retains the purity of Franciscan forms. The church, with a central nave and a side nave, was enriched in the early 1700s with a chapel dedicated to Saint Paschal Baylon (Spanish), a lay Franciscan, canonized in 1860, in honor of Constable Colonna; the latter changed the convent's name, and simply "San Pasquale," rather than Vallaspra, refers to the location and the monastic complex. Over the centuries, the structure served as a wool mill (the Franciscan habit was produced there); Operating for over a century and closed in 1675, it was linked to the intense period of trade along the cattle routes. Over the years, the Convent of San Pasquale became an important center of theological studies. Today, the Convent conveys a strong sense of belonging, religious, spiritual, and cultural identity; these characteristics make it a solid and secure center of reference, as well as a hub of aggregation, prayer, and apostolate. To learn more, visit https://fondoambiente.it/luoghi/convento-di-s-pasquale-vallaspra?ldc=

2. Museum Tour: Aligi Sassu Museum, Gaetano Minale Art Gallery, Storto-Vaselli Art Collection, The Colors of Water, Lace, Weaves and Lace, Robert Venturi. Learn more at https://www.museate.it/

o learn more, visit https://www.museate.it/

3) St. Leucio Cathedral

The imposing and majestic church dedicated to St. Leucio, also known as the cathedral due to the controversial attribution of the prepositura nullius diocesis, represents the beating heart of Atessa's religious, urban, and artistic identity. Complex restoration works carried out in 1935 removed Baroque architectural elements, restoring the facade to its original late Romanesque structure. Legend attributes to St. Leucio, the first bishop of Brindisi, the killing of a fierce dragon that claimed victims and prevented the inhabitants of two villages, Ate and Tixa, from meeting and uniting. The construction of the original church between the 10th and 11th centuries in honor of St. Leucio—an allegory of light, faith, and good—marked the process of conurbation of the two opposing settlements and the birth of a single city: Atessa. A fossilized rib of a prehistoric animal bears witness to the mythical tale, which conceals a historical process of marsh reclamation (symbolized by the dragon, which also represents evil, atheism, and sin) carried out by Basilian monks.

As inferred from the writings of 19th-century local historian Tommaso Bartoletti, the current facade preserves the results of 13th-14th century renovations: three articulated pointed portals, a precious wheel rose window rich in arches and tracery dating back to 1312 (the work of the school of Francesco Petrini of Lanciano), and niches featuring the symbols of the Evangelists, St. Leucio, and the Divine Lamb. The interior, originally a three-aisled flat plan, was expanded in the mid-19th century to five aisles with increased height for spatial needs; it is adorned with Baroque stuccos and decorations in gold and red-brown tones. A fresco discovered in 2003 in the apse depicting a Eucharistic procession documents the ancient layout of the church. Today, it is embellished with 19th-century paintings, including notable frescoes on the vaults by Teodoro Trentino, and refined furnishings such as the pulpit, choir, and organ case in fine walnut, carved in the second half of the 18th century by the Mascio brothers, local master carvers. Furthermore, the 14th-century processional cross and choral books, a Renaissance terracotta statue, the gilded silver bust of St. Leucio (1731), and a monumental archive constitute the church's precious artistic heritage. Among the most valuable works is the gilded silver Monstrance by Nicola da Guardiagrele (1418), a masterpiece of Abruzzese goldsmithing featuring enamels and filigree work, topped by a statuette of St. Michael.

to learn more visit https://sangroaventinoturismo.it/struttura/124-cattedrale-di-san-leucio?lang=it

4) The City Gates

Ancient gateways to the city that tell the story and layout of medieval Atessa: Porta San Michele, Arco ‘Ndriano, Porta Santa Margherita, and Porta San Giuseppe.

In medieval times, many territories were characterized by fortified villages built on hills, a phenomenon known as incastellamento. To control the territory and defend against attacks, observation systems such as towers and defensive walls were built. When traveling toward Atessa, its structure as a fortified village is still evident. Like many medieval villages in Abruzzo, Atessa was equipped with a defensive wall provided with towers and gates. While there are no certain dates for the wall's construction, documents attest to the existence of ten gates. Today, three original gates are still visible, while one was demolished and rebuilt in the 18th century. Evidence of the defensive system includes a circular tower in the ancient Ate district and a section of wall between Porta San Giuseppe and Porta Santa Margherita.

to learn more visit https://viviatessa.it/scopri/porte-urbiche-ad-atessa/

5) The Nativity Scene Museum (Museo del Presepe)

Located in the former indoor market premises near the central Piazza Oberdan, this museum hosts a fascinating Permanent Exhibition of Nativity Scenes. Founded in 2002 by local enthusiasts, the museum was inaugurated in 2007. It represents the culmination of the association's efforts in crafting handmade pieces and complex scenic backdrops. The site is adjacent to a multi-story parking lot and is fully accessible to people with disabilities.

To learn more visit https://www.presepiatessa.it/mostra-permanente/

6) The Giò Pomodoro Fountain

The central Piazza Oberdan, historically known by locals as "Piazza della Fontana," regained its identity in 2005 with the installation of a fountain designed by the great master Giò Pomodoro. Made of white stone from Gravina di Puglia, the fountain is a play of geometry: a polygonal shape encloses a rectangular block supporting a bronze spiral, from which a jet of water flows toward the valley and the sea. The entire open square serves as a splendid panoramic viewpoint with horizons stretching from the Maiella mountains to the cobalt blue line of the Adriatic Sea. Today, it serves as a dynamic hub for the weekly market and social gathering.

To tearm more visit https://sangroaventinoturismo.it/ricerca-struttura/3-atessa/38-fontane?lang=it