In 1332 the inhabitants of quarter of San Vito moved near the castle of the Counts of Modica, and for this reason a new mother church was built in the same place where the present one is located and it is dedicated to Our Lady of the Assumption. This church opened to worship in 1402, was built in a Catalan-Gothic style with a nave and two side aisles and had a wooden ceiling and side chapels not aligned. It was enlarged and modified in 1471, 1530-1558 and 1581.
Today we can only see the bell tower with double lancet windows (restored in 1942), the chapel of the Holy Thorn and the Baptistery.
The church was rebuilt in 1669 by Giuseppe Diamante and Angelo Italia, while the neo-classical façade was realized in 1786 by Emanuele Cardona.
The garden adjoining the church, since the 15th century, was used as a cemetery for poor people, with an altar where to celebrate Mass during maladies and a stone cross with an aedicula sacred to Our Lady of Mercy. In the 20th century it became a public garden and in 1929 they placed the War Memorial, realized by Bentivegna, a sculptor from Sciacca.
The church has a basilican plan with a nave and two side aisles which are divided by two rows of columns with monolithic marble shafts extracted from the near mount Bonifato. The stuccoes were made by the Curtis, while the floor was realized on the architect Giuseppe Patricolo's plan.
The interior contains 38 frescos by Guglielmo Borremans.
References:The Roman Theatre of Mérida is a construction promoted by the consul Vipsanius Agrippa in the Roman city of Emerita Augusta, capital of Lusitania (current Mérida). It was constructed in the years 16 to 15 BCE. One of the most famous and visited landmarks in Spain, the Roman Theatre of Mérida is regarded as a Spanish cultural icon and was chosen as one of the 12 Treasures of Spain.
The theatre has undergone several renovations, notably at the end of the 1st century or early 2nd century CE (possibly during the reign of Emperor Trajan), when the current facade of the scaenae frons was erected, and another in the time of Constantine I (between 330 and 340), which introduced new decorative-architectural elements and a walkway around the monument. Following the theatre"s abandonment in Late Antiquity, it was slowly covered with earth, with only the upper tiers of seats (summa cavea) remaining visible.