San Lorenzo was the first parish church of Montiglio and one of the oldest parish churches in the Diocese of Vercelli. Of very ancient construction (about 10th century), we read about it in pastoral visits that "the time of its foundation is inscrutable since it is traditionally said that it was dedicated to the god Aesculapius". It stands, like other churches in the area, on the top of a hill from which it dominates the enchanting rural landscape.
Towards the end of the 16th century, however, the construction of the church of Santa Maria della Pace began, commissioned by the bishop of the newly established diocese of Casale Monferrato, which also included the parish of Montiglio. The creation of a new parish church stemmed in part from the small size and poor state of conservation of the building and in part "since the aforementioned church of San Lorenzo is far from the earth", or rather from the town. However, the importance of this ancient building for the life of the parish was maintained over time, given the adjacent presence of the cemetery in which it continued to be buried in the following centuries.
Over time, the building of San Lorenzo has undergone many changes which have not, however, compromised the original Romanesque imprint of the interior of the church and of the overall architecture. Originally it consisted of three naves ending in as many apses; the apses of the side aisles were demolished with the renovations that took place in the eighteenth century, when the two square wall structures placed in correspondence with the graft of the central apse were built, which protrude from the perimeter of the church as if to represent the transept. The same internal physiognomy of the side aisles was modified, creating a series of semi-hexagonal chapels. Nothing remains, however, of the original facade of the church, rebuilt in the nineteenth century by adopting an incongruous neoclassical style and then redone again, more consistently, during the 1950s, partly reusing ancient stone material. Internally, the building does not contain any sacred furnishings, however, the sculptural apparatus built on abacuses and capitals, still perfectly preserved today, is very rich and original.
Unknown is the name of the sculptor, or rather of the sculptors, who created the decorative apparatus, although the style of a single workshop that worked on the site in the first half of 1100 is clearly evident. The figured capitals in carved stone of excellent workmanship are visible only from three sides, while the fourth is incorporated in the partition walls that divide the chapels, thus helping to support the thrust of the barrel vault. The subjects carved in the capitals are different: there are chierubs, plant motifs, human and animal figures, often used with a symbolic intent or recalling the Old Testament.
Towards the end of the 16th century, however, the construction of the church of Santa Maria della Pace began, commissioned by the bishop of the newly established diocese of Casale Monferrato, which also included the parish of Montiglio. The creation of a new parish church stemmed in part from the small size and poor state of conservation of the building and in part "since the aforementioned church of San Lorenzo is far from the earth", or rather from the town. However, the importance of this ancient building for the life of the parish was maintained over time, given the adjacent presence of the cemetery in which it continued to be buried in the following centuries.
Over time, the building of San Lorenzo has undergone many changes which have not, however, compromised the original Romanesque imprint of the interior of the church and of the overall architecture. Originally it consisted of three naves ending in as many apses; the apses of the side aisles were demolished with the renovations that took place in the eighteenth century, when the two square wall structures placed in correspondence with the graft of the central apse were built, which protrude from the perimeter of the church as if to represent the transept. The same internal physiognomy of the side aisles was modified, creating a series of semi-hexagonal chapels. Nothing remains, however, of the original facade of the church, rebuilt in the nineteenth century by adopting an incongruous neoclassical style and then redone again, more consistently, during the 1950s, partly reusing ancient stone material. Internally, the building does not contain any sacred furnishings, however, the sculptural apparatus built on abacuses and capitals, still perfectly preserved today, is very rich and original.
Unknown is the name of the sculptor, or rather of the sculptors, who created the decorative apparatus, although the style of a single workshop that worked on the site in the first half of 1100 is clearly evident. The figured capitals in carved stone of excellent workmanship are visible only from three sides, while the fourth is incorporated in the partition walls that divide the chapels, thus helping to support the thrust of the barrel vault. The subjects carved in the capitals are different: there are chierubs, plant motifs, human and animal figures, often used with a symbolic intent or recalling the Old Testament.