The architecture of the church is derived from the towerless Baroque sanctuaries built in Rome during the first half of the 17th century, following the model of the Il Gesù church. It is closely related to the early churches of the order in Lublin, Lviv, Krakow, and other cities. The church was likely designed based on one of two exemplary plans.
The Church of St. Teresa differs quite significantly from the Roman Il Gesù. The plan here is not in the form of a Latin cross but is rectangular, without a developed transept, and the dome is low and “blind” (windowless). These spatial characteristics are typical of Carmelite churches in Rome, such as S. Maria della Scala and S. Maria della Vittoria. The interior space is divided into three naves, with the side naves designed as a series of interconnected chapels. The main nave is covered by eight stone vaults, which are much higher than those of the side naves. The facade of the church is characterized by monumentality, strict linear plasticity, and an architectural drawing of nobly elongated proportions. The three-tiered facade rises upon a very high plinth. The portal and the window above it are composed within an arch-shaped niche. The portal is crowned with the coat of arms of the Vasa dynasty—a sheaf of grain—carved in white marble. In the pediment is the coat of arms of the project’s patron, the Vice-Chancellor of the GDL, Stefan Pac—a double heraldic lily. The sleek plasticity of the volutes is highlighted by the contrasting obelisks.
Luxurious and elegantly coordinated materials were used for the facade: gray Swedish sandstone and black and white marble. Such material luxury is rare in the structures of the Discalced Carmelites. Therefore, the Vilnius Church of St. Teresa stands out for its majesty and opulence. In its architecture, the Carmelite model is fused with the distinctive style of a Roman architect and the “black marble style,” reflecting the taste of the royal environment and its prominent patron.