San Francesco

San Francesco, known locally as Chiesa di San Francesco, stands as a timeless testament to the rich history and architectural splendor of Saronno, Italy. Nestled in the province of Varese, this venerable church is not only the oldest in the city but also a beacon of spiritual and cultural heritage that has endured through the centuries.

The Historical Tapestry of San Francesco

The origins of San Francesco trace back to the 13th century, although its initial dedication was to Saint Peter, with the earliest records dating to 1154. Over the centuries, it has evolved from a parish church into a necropolis for the residents of Saronno. The church's transformation began in earnest when it welcomed the Friars Minor, followers of Saint Francis of Assisi, in the 13th century. Despite the church receiving the privileges of a regular church, the vicar or parish priest of Saronno retained certain rights over the high altar for many years.

In 1570, Saint Charles Borromeo intervened to resolve disputes between the parish priest and the friars by transferring the parish rights to the Church of Saint Mary, now dedicated to Saints Peter and Paul, and rededicating the old church to Saint Francis. The Franciscan monastery was suppressed by the French at the end of the 18th century, leading to the sale of the church, monastery, and the order's properties. The church changed hands several times before being entrusted to the parish priest of Saronno in the mid-19th century.

In 1850, Angelo Ramazzotti founded the Pontifical Institute for Foreign Missions (PIME) within the church, which later moved to Milan. Recognized as a national monument in 1931, San Francesco has undergone numerous restorations, with significant work on the central nave and counter-facade completed in 2021 under the guidance of architect Carlo Mariani.

Architectural Marvels

San Francesco is situated on a square bearing its name. The church boasts three naves across six bays, twelve lateral chapels, and a deep semicircular choir. The fourth bay, corresponding to the Chapels of Saint Anthony and the Immaculate, is the widest. The baroque facade, dating from the 18th century, features a gabled wall crowned with curly undulations. The central section is flanked by two pilasters topped with capitals.

The eastern side of the church is adorned with a quadrangular bell tower, while the southwestern side adjoins the former Franciscan convent, now a private residence. The main entrance to the convent opens onto the square. In the niches flanking the central window, one can find statues of Saint Francis and Saint Anthony of Padua, originally crafted in 1774 and replaced in 2004 due to severe damage. The facade, as seen today, is the result of 17th-18th century renovations, with the central part defined by monumental pilasters and capped with classical architraves and floral friezes.

Outside the church's apse, on Carcano Street, stands a pagan altar discovered in the 20th century. This relic, dating from the late Roman Empire, bears the inscription Quintus Cassius Mercator Deis Deabus (Quintus Cassius, merchant, dedicates to the gods and goddesses).

The Central Nave: The Franciscan Apotheosis

The central nave's fresco cycle was commissioned by Father Guardian Gerolamo Maderna and executed by Giovanni Ambrogio Legnani in 1678. It is believed that Legnanino, Giovanni Ambrogio's son, may have assisted in the work. On the left, starting from the altar, the frescoes depict scenes such as Saint Francis consoled by an angel at Rieti, Saint Anthony preaching against avarice, usury, and lust, and the apotheosis of Mary Immaculate with John Duns Scotus and Franciscan doctors. Other scenes include Saint Anthony resurrecting a dead man to proclaim his father's innocence, Saint Francis reviving a child fallen into boiling water, and Saint Anthony reattaching a young man's foot.

On the right, starting from the main door, the frescoes illustrate Saint Anthony refusing Ezzelino III da Romano's gifts, Saint Francis receiving papal approval for his rule from Pope Innocent III, Saint Anthony confronting a repentant Ezzelino, the Virgin Mary exalted by Dominican and Franciscan doctors, and another scene of Saint Anthony with Ezzelino. A faded fresco likely depicted Saint Francis's death. Twenty-one medallions portray Franciscan cardinals and the kings of France and Spain.

Right-Side Chapels

San Francesco's right-side chapels include:

• Chapelle de l’Ange Gardien: Featuring depictions of Saint Lucy and Saint Catherine on the pillars.
• Chapelle du Crucifix: Once dedicated to the Annunciation, it houses a late-16th-century wooden statue. The chapel was under the patronage of the Visconti family, whose coat of arms can be seen alongside that of the Rossi family of Parma. The pillars feature Saint Henry the Emperor, a bishop, and Saint Defendente the martyr.
• Chapelle de Saint Charles: The fresco of Saint Charles was commissioned by Angelo Ramazzotti in the 19th century. Originally dedicated to the apostles Philip and James, it was under the Borroni family's patronage, with frescoes dating to 1607. The pillars depict several Franciscan martyrs.
• Chapelle de Saint Antoine de Padoue: Featuring a glory of Saint Anthony by Stefano Maria Legnani, with frescoes by Giovanni Battista and Gerolamo Grandi, and two oval canvases by Andrea Porta. The pillars depict Moroccan martyrs.
• Chapelle de Saint Jean-Baptiste: Patronized by the Reina family, the vault displays the coats of arms of the Carcano, Crivelli, Zerbi, and Lucini families. Frescoes from 1605 depict scenes from the life of Saint John the Baptist, Saint Catherine of Siena, and Saint Apollonia. The altar painting shows Saint Mammès baptizing a group of faithful and offering milk, a typical attribute of his iconography. The pillars feature Saint Jerome, Saint Gothard, and Saint Adjutor.
• Chapelle des Saints Côme et Damien: Once dedicated to Saints Cosmas and Damian in 1570.

Left-Side Chapels

The left-side chapels include:

• Chapelle du Saint-Rosaire: Featuring a 16th-century Virgin and Child by Aurelio Luini, surrounded by the mysteries of the Rosary. The pillars depict Doctor Lirano and Saint Mary Magdalene.
• Chapelle de Sainte Catherine: Featuring The Ecstasy of Saint Joseph of Cupertino and statues of Saint Anthony and Saint Roch. The pillars depict Saint Louis of Anjou and Saint Lucy.
• Chapelle de l'Immaculée: With an octagonal dome from the 16th century and paintings of the four Doctors of the Church. The statue of Mary Immaculate, created in 1712, was moved to the church of Saints Peter and Paul after the Napoleonic suppression. The pillars feature Saint Martha, Saint Ursula, Saint Margaret, and a bishop revealed during the 1990 restoration.
• Chapelle de Saint Martin de Tours: Patronized by the Visconti family, it houses a statue of Saint Joseph. The pillars depict Saint Louis of France and Saint Jerome.
• Chapelle de la Piété: Featuring a wooden sculpture group of the Deceased, including Mary with the dead Christ, Saint John, and Saint Mary Magdalene, attributed to Andrea Corbetta. The vault frescoes are by A. Bianchi (1605).
• Chapelle de Saint Joseph de Cupertino: Originally dedicated to Saint Ursula, it features a painting of Saint Joseph of Cupertino by Bellotti of Busto Arsizio.

Presbytery and Apse

The presbytery and apse of San Francesco are equally captivating. The arch opening to the presbytery showcases the church's architectural evolution over the centuries. Visitors exploring the bell tower can still see the ancient structures that once provided access to the adjacent convent. A tour of the attic reveals the building's transformations throughout its long history.

San Francesco in Saronno is more than just a church; it is a living chronicle of faith, art, and history. Its walls echo the devotion of generations, making it an unmissable destination for anyone visiting this charming Italian town.