The Cathedral of Teramo is one of the most singular, more composite and shrewdest things that possess Italian art. As it is today, it results from the union of two churches, of which the most recent one acts as an apse to the oldest, while the two arms of the transept are reduced to one chapel, the other to a monumental sacristy. The facade, in stone and brick, is square but the rich cosmatic portal and the high Gothic spire crowning it over the cornice create a new dimension and make this unique facade unprecedented. The interior is bare and sober: the columns come from ancient pagan temples, sometimes they have the power of the best things of the Middle Ages, the tabernacle, of Romanesque taste, protects the most valuable piece of art in the church: Nicola da Guardiagrele who through thirty-five forms tells the story of Christ's life. Its construction began in 1158, at the will of Bishop Guido II, who intended to give a new kindergarten to the relics of Saint Berardo after the destruction of the ancient Santa cathedral Maria Aprutiensis, and almost the whole of the city, by Count Alexander III of Loritello, in 1155. The cathedral was finished and consecrated in 1176, in Romanesque style it had three aisles, salient façade, trellis cover and central octagonal tibur; At that time the presbytery was elevated. Probably there was also an external narcissist. Part of the stone material was taken from adjacent Roman theater and Roman amphitheater; the latter was even demolished in the northwest to make way for the new cathedral. The machined stones are inserted and are currently visible in the walls of the cathedral. The tower connects to the cathedral just at the point of graft between the Romanesque part of Guido II and the Gothic side of Niccolò degli Arcioni. It shows later constructive interventions: the lower part was built between the XII and the XIII century or perhaps directly by Bishop Niccolò degli Arcioni, then in the 14th century the intermediate part and finally in the 15th century the elaborate octagonal crowning of the Lombard architect Antonio From Lodi (1493) who also realized the bell towers of Atri, Campli and Corropoli. The tower is entirely divided into superimposed modules, marked by marcapian frames. On the third and fourth modules there are two-brick windows, while the fifth and sixth houses belfries. Above the second cell, Antonio da Lodi realized a roof terrace, fitted to the four corners of towers decorated with the same ornamental pattern in the support frame on the same terrace. At the center of it, therefore, he raised the octagonal prism surmounted by the crowning pyramid above which the metal sphere and the vane were installed. The prism has, on each face, a double order of apertures: two-tipped double-sided and oculi surrounded by polychrome decorations per second. The original gold-plated metal sphere has a diameter of 0.64 meters. Even the cross, above the sphere, was originally golden. Today there are only a few traces of ancient gilding, nevertheless ever restored over the centuries. The total height of the tower, as measured by the Military Geographic Institute in 1955, is 48 meters. The sphere, the wind vane and the cross raise it almost at 50 meters.