Situated on a panoramic hill overlooking the oldest crossing of the Erno River, above the village of Solcio, along the road leading to Massino Visconti, the oratory dedicated to Saint Sebastian is one of the few Romanesque sacred buildings to have preserved its original structure almost intact over the centuries. The earliest documents attesting to its existence date to the late 13th century: it is mentioned for the first time in the 13th-century Liber Notitiae Sanctorum Mediolani by Goffredo da Bussero. Due to the unique nature of its masonry, the construction is generally dated between 1100 and 1125.
The building's structure is very simple, with a single nave, a gabled façade, and an apse divided into three sections by pilasters, each with a double-splayed window and irregular hanging arches arranged in groups of five. The masonry is constructed using different techniques in the lower section (cobblestones of various sizes, partly arranged in a herringbone pattern) and the upper section (more regular masonry punctuated by pilasters of large, well-squared ashlars), with no evidence that the construction occurred in different phases.
The bell tower has a very distinctive structure: it is embedded in the masonry and rests on two supporting pillars placed inside the church following renovations carried out in 1950. The bell tower has three tiers of windows decorated with hanging arches. The openings are different: the first tier features a narrow single-lancet window with a slit, the second a single-lancet window with an archivolt, and the third a double-lancet window with a ridged archivolt.
On the wall above the apse is a small cruciform window corresponding to a symbolic fresco of Christ-Light, an original representation of the theme of redemption through the risen Christ. The same opening represents the body of the Lord, with two outstretched arms painted on the sides. Above are the sun and moon, and below, representing the people of God, are two sheep reaching out toward the central figure, with flowering branches below symbolizing Paradise. Unfortunately, the painting is difficult to read today due to its deterioration. The apse is decorated with frescoes of modest quality, which, unfortunately, are also not well preserved. They depict Christ Pantocrator enclosed in a mandorla, surrounded by the four evangelists with their respective symbols and several saints, an iconography already present in the church of San Donato in Sesto Calende. Other frescoes, probably executed between the 15th and 16th centuries, are found inside the apse.
It is certain that the oratory was once a stop on the "rogations," ancient prayer processions for the preservation and prosperity of crops. Due to the remains of Roman tombs discovered in the meadow in front, it is hypothesized that the site was used between the 14th and 17th centuries as a burial place for victims of endemic diseases and as a lazaret.
In 2004, conservative restoration work was carried out, mainly affecting the walls, the bell tower, and the roof.
Now, enjoy the view and the tranquility of this place. You deserved it after the climb you made to get there! Congratulations.
Before setting off, don't forget to download the map from the totem in front of you at "Sentire e Sentieri" – Manzoni in Lesa, to help you continue your walk.

Introduction

Situated in an environment of extraordinary beauty, the Church of San Martino stands majestically on a hill overlooking the Lago Maggiore, a few steps from the historic Via del Sempione. Its history dates back to the 12th century, when Lesa began to establish itself as an important center of worship. As early as 1157, the priest Giovanni di Cavagliano attested to the importance of the Lesa community in the ecclesiastical sphere, testifying to a lively spiritual fervor. Historical documents confirm the church's presence from 1226, while other references, dating back to earlier periods, suggest a continuity of religious and social life that dates back to 1116 and 1122. The most tangible traces of the current structure date back to the 12th century, with preserved portions of the ancient central nave that recount the evolution of this place of worship, rich in history and significance. In a context of ecclesiastical institutions and historical events, the Church of San Martino played a crucial role, as demonstrated by numerous references in historical documents up to the 14th century. Although dedication to Saint Martin was a common practice in the Lombard era, the connection with the local community and its religiosity deserve further investigation.

The Bell Tower

The building's bell tower is located on the south side and retains its original layout, despite the exterior modifications made in 1898. Seven stories high, the bell tower is notable for its variety of window openings, ranging from narrow single-lancet windows to double-lancet and triple-lancet windows. The interior walls show signs of a uniform construction approach, suggesting a possible date to the 11th and 12th centuries. Documented as early as the 16th century, the bell tower has undergone several repairs over the years, including repairs following a lightning strike in 1898. Subsequent renovations in the 20th century maintained the structure but also resulted in significant alterations. Currently, the bell tower suffers from stability issues that require urgent restoration. Despite the modifications, the bell tower follows the architectural tradition of similar buildings in the region, displaying a typical progression of window openings characteristic of that era.

The Surviving Portions

The surviving portions of the Church of San Martino offer a precious glimpse of its ancient structure and its evolution over time. The preserved walls of the ancient central nave bear witness to a past rich in spirituality and community activity. Through the archaeological and architectural traces, it is possible to grasp the essence of a place that, over the centuries, has maintained its function of worship and social gathering. These surviving elements not only enrich the historical heritage of the area, but also invite reflection on local history and the significance this place had for the community of Lesa.

Not much remains of the 17th century building as it was completely rebuilt in the 19th century without preserving, unlike that of San Giorgio, the old structures.

Behind the current high altar you can see a Deposition by Morazzone painted on a wall of the old church, and an Adoration of Christ by the Venetian school.

From the same period are two canvases of the Birth and Baptism of Christ, and in one chapel, a wooden statue of Saint Anthony, perhaps coming from the small Romanesque oratory nearby.

Taken from:
“Paths, History and Artistic Documents of the Novara Area
Ancient Towns Between the Lake and the Hills – Volume 22”
Province of Novara 2005

In the heart of our fascinating region, the church of San Giulio di Comnago has roots in a medieval past shrouded in mystery. Although historical documentation is scarce, the church is believed to be linked to the historic parish church of Saints Gervasio and Protasio in Baveno. Until 1605, San Giulio was under the jurisdiction of the parish of San Pietro di Graglia Piana, which in turn separated from the parish church of Baveno in 1365.

The first official mention of Comnago appears in a document dated March 1, 1329, which attests to the lease of land by the canons of San Giuliano di Gozzano to a certain Guglielmo "de Chomnago de Gaudiano." The land is a meadow located in the Verganti area, in the locality of Mergociolo. A document drawn up by Bishop Guglielmo da Cremona also mentions vineyards in Comnago in 1347.

However, it is only in 1375 that we find direct references to the church, when, as reported by Canon Carlo Michele Giulino, a chaplaincy was established with the obligation to celebrate a daily mass and the granting of plots of land in Comnago and nearby towns: Nocco, Gignese, Brovello and Lesa.

A distinctive element of the church is its bell tower, which dates back to the late 11th century, thus representing the oldest evidence of its history.

We invite you to visit San Giulio di Comnago to immerse yourself in its fascinating history and discover a precious piece of our cultural heritage.

Discover the Oratory of Santa Cristina: A Hidden Gem
Located along the picturesque Via Padre Pietro Leoni, which connects Premilcuore to Montalto, the Oratory of Santa Cristina is a fascinating building with mysterious origins. Although its historical roots date back to the late 16th century, with a documented restoration in 1597, today it represents a place of great beauty and tranquility for all visitors.

Accessible via a short path, the oratory is set in an enchanting location, surrounded by a dense forest that enhances its serenity. The building's architecture is simple yet captivating, with a longitudinal plan and a single nave. The façade, featuring an elegant gabled roof, is adorned with a small bell gable, while the main entrance, topped by a stone cornice, welcomes visitors with two imposing wooden doors.

Inside, the atmosphere is one of extreme simplicity, with completely whitewashed walls and a ceramic floor that, unfortunately, has somewhat altered its original charm. However, the most eye-catching feature is the altar, carved into the back wall and graced by a step that accentuates its presence.

The painting on the altar portrays Saint Christina of Bolsena (also known as Saint Christina of Tyre), wearing her characteristic white dress and red cloak, accompanied by the symbols of the stone and the anchor, which tell the story of her life and deeds.

Visit the Oratory of Santa Cristina and immerse yourself in the peace and spirituality of this enchanting place, immersed in nature and history. It's a must-see for anyone wishing to discover the hidden treasures of our region!

Discover the Oratory of Santa Cristina: A Hidden Gem
Located along the picturesque Via Padre Pietro Leoni, which connects Premilcuore to Montalto, the Oratory of Santa Cristina is a fascinating building with mysterious origins. Although its historical roots date back to the late 16th century, with a documented restoration in 1597, today it represents a place of great beauty and tranquility for all visitors.

Accessible via a short path, the oratory is set in an enchanting location, surrounded by a dense forest that enhances its serenity. The building's architecture is simple yet captivating, with a longitudinal plan and a single nave. The façade, featuring an elegant gabled roof, is adorned with a small bell gable, while the main entrance, topped by a stone cornice, welcomes visitors with two imposing wooden doors.

Inside, the atmosphere is one of extreme simplicity, with completely whitewashed walls and a ceramic floor that, unfortunately, has somewhat altered its original charm. However, the most eye-catching feature is the altar, carved into the back wall and graced by a step that accentuates its presence.

The painting on the altar portrays Saint Christina of Bolsena (also known as Saint Christina of Tyre), wearing her characteristic white dress and red cloak, accompanied by the symbols of the stone and the anchor, which tell the story of her life and deeds.

Visit the Oratory of Santa Cristina and immerse yourself in the peace and spirituality of this enchanting place, immersed in nature and history. It's a must-see for anyone wishing to discover the hidden treasures of our region!

The small oratory, built in the 17th and 18th centuries, is a single-hall structure. The façade features a portico supported by four columns. The small bell tower has a belfry. The Baroque frescoes inside are noteworthy. The architectural structure of this building in Lesa harks back to the mother church of San Martino. In the main church, traces of Baroque style are limited to a few modest interventions on the façade and some wooden furnishings, such as the baptismal font cover and the confessionals.

Taken from:

“Paths, History and Artistic Documents of the Novara Area
Ancient Towns Between the Lake and the Hills – Volume 22”
Province of Novara 2005

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Proceed to Via C. Davicini 5