Church of Saint Peter Martyr (Chiesa di S. Pietro da Verona martire)
The church stands in the centre of the village, facing a small square paved with porphyry. It was first mentioned as a parish church in 1584, although 19th-century sources say it already existed in 1410. The marble baptismal font, with its pointed Gothic shape, probably dates from that early period and is now set in the wall of the outer corridor. Because the old building was badly damaged, it was completely rebuilt in its present form starting in 1783.
The two-tone façade, with a curved pediment, is divided into two levels by pilasters. The doorway, crowned with elegant volutes, is made of serizzo stone. Inside, there is a single nave with two side altars and a low dome ceiling. The back panel of the main altar is Baroque in style and probably came from the church of Saint Fedele in Milan.
In the apse, inside a modern marble frame by the sculptor Pablo Atchugarry, is preserved a fresco of the Crucifixion with the Virgin and Saint John. This fresco originally came from the old parish house in the village centre, whose façade still bears the date 1452. The lace-like frame pattern and the colours suggest it was painted by Cristoforo da Seregno, a member of a family of artists from Brianza active between the 13th and 15th centuries.
In the niche of the left altar stands a 17th-century statue of the Our Lady of Sorrows, said to have come from the former convent of the Servite Fathers in Abbadia Lariana. The right altar holds a painting of the Madonna nursing the Child Jesus, with Saint John the Baptist as a child and Saint Anthony of Padua. The artist is unknown, but the work recalls the style of Pietro Antonio Magatti, an 18th-century painter from Varese.
The dome and its pendentives with the Four Evangelists were painted in 1923 by Romeo Rivetta. The apse frescoes were added in 1990 by the artist Oscar di Prata, showing Christ Preaching to the People, along with the stained-glass windows of Saint George, Saint Fedele, and Saint Peter Martyr.
The organ on the rear gallery dates from the 18th century and was restored in the following one by Giuseppe Alchisio, a skilled local organ maker.
The church stands in the center of the village, overlooking a small porphyry-paved square.
It was first mentioned in 1584 as a parish church, though some 19th-century sources suggest it already existed in 1410. The marble baptismal font, with Gothic shapes, probably dates from that earlier period and is now embedded in the outer corridor wall.
The old building had become damaged and was therefore completely rebuilt in 1783. The two-tone façade features a curved pediment, divided into two levels and marked by pilasters. The portal, in serizzo stone, is adorned with volutes.
Inside, there is a single nave with two side altars, covered by a low dome. The main altar has Baroque decorations and, according to some studies, comes from the Church of San Fedele in Milan.
In the altar area is a modern marble frame sculpted by Pablo Atchugarry, containing a fresco of the Crucifixion with the Virgin and Saint John. This fresco comes from the old parish house, on whose façade a similar fresco dated 1452 is still preserved. The decorated frame and colors recall the style of the Seregnesi family, artists active between Brianza and Canton Ticino.
In the left altar’s niche stands a 17th-century statue of Our Lady of Sorrows, traditionally believed to come from the Servite Convent of Abbadia Lariana.
The right altar holds a painting of the Madonna, Child Jesus, Saint John the Baptist, and Saint Anthony. The artist is unknown, but the style recalls Pietro Antonio Magatti, an 18th-century painter active also in Merate, near Monza.
The dome and pendentives with the four Evangelists were painted in 1923 by Romeo Rivetta.
In 1990, artist Oscar Di Prata created the frescoes in the altar area, depicting Christ preaching to the people, as well as the stained-glass windows featuring Saint George, Saint Fedele, and Saint Peter.
The organ above the entrance dates back to the 18th century and was restored in the following century by the craftsman Giuseppe Alchisio, who was very active in the region.
