Church of Santa Maria del Soccorso

The archiectonic style from which the church is inspired is clearly neo-Gothic. A few steps and a short side ramp lead to the small churchyard in front of the church entrance. The wall structure made of brick elements is completely plastered both inside and outside.

The gable-roofed façade is primarily characterized by the presence of a portal with an ogival arch on slender fluted columns and a poly-lobed rose window with small columns that connect at the center. Between these, two panels depicting a half-bust of Saint John the Baptist and an Angel showing an open book are placed. The façade concludes with blind merlons of ogival arches on small columns that follow the slope of the roof eaves. The buttress-pillars, starting from the corners of the main façade and aligning along the church's sides up to the apse, not only balance the thrust of the walls but also serve as an architectural motif. Between the buttresses are tall, splayed pointed-arch windows with stained glass. A bell-gable rises at the back on the left, where the apse is located. The building housing the sacristy and the rectory is attached to the church, set back on the left. The Gothicizing motif of the ogival arch is consistently found inside the church in the ribbed vaults covering the single nave and in the three large arches that divide the nave into three bays, with the central one being wider. Of note on the left wall is a painting from the early 17th century depicting the Madonna of the Rosary, attributed to Silvio Ariani. The inner facade is essentially characterized by a glazed vestibule with a wooden frame and the stained glass of the rose window. On the opposite side is the presbytery, elevated by three steps from the nave, with a polygonal apse covered by segmented basins.