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Sant'Ambrogio Farmhouse
Cascina Sant'Ambrogio, in Carugo, is one of the most characteristic farmhouses in Brianza. Nestled in the greenery of the Groane Park and the Brughiera Briantea, a short distance from the Fontana del Guercio, it is a place that combines nature, history, and local traditions.
Photos and data from the "Viaggiare in Brianza" website
In the 18th century, Cascina Sant'Ambrogio was a farmhouse owned by Diego Martinez. As was often the case at the time, management was entrusted to a farmer, who worked the land and owed the owners a share of the harvest or other services.
The Martinez family, of Spanish origin but resident in Milan, owned the farmhouse until the late 19th century, when it passed to the Benvenuti family. Until then, the structure had retained a rural feel.
During the twentieth century, however, the agricultural world changed: the first textile factories, which required domestic labor, emerged in Carugo, and silkworm breeding became widespread. Woodworking also took hold, with activities such as marquetry and carving.
Around that time, north of the farmhouse, Matteo Consonni opened a school and workshop for woodworking. Many young people from the area came here to learn the trade. Carpenters would arrive on carts from Carugo and nearby villages to bring pieces to work.
Over time, various families have succeeded one another as owners: in addition to the Martinez and Benvenuti families, there were the Sforza, the Decio, the Negroni, and finally the Teruzzi.
An information panel next to the farmhouse tells this story, along with other details about daily life here in the last century.
The farmhouse included:
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a house for the settlers
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stables, barns and animal shelters
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a bread oven
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a pond for animal water
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a well for drinking water
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chicken coops, pigsties and rabbit hutches
Today, the farmhouse is a peaceful haven of greenery, between Carugo and Pozzolo. The complex is well preserved and still immersed in nature.
Next to the farmhouse is a chapel dedicated to Sant'Ambrogio, which houses an oak high relief sculpted by Vitale Regola and painted in 1892 by the painter Nardini, at the request of Giovanni Teruzzi.
Church of St. Martin
The Chapel of San Martino is located on a plateau that in Roman times was crossed by the ancient road connecting Como to Milan. It stands between Carugo and Mariano Comense, in the area of the ancient Gattedo castrum, a medieval possession of the Milanese Da Giussano family.
The building has a single nave, a wooden roof, and exterior plaster, constructed of stone and tuff. The two single-lancet windows, now walled up, have round arches with wide splays. The nave measures 8.45 x 6.25 meters and is built over an equally sized space below, the purpose of which remains uncertain due to its difficult accessibility.
The chapel dates back to the 11th century, with modifications and additions up until the 16th century. During this period, the apse collapsed and the altar was moved to the opposite side, creating a new entrance in the current east wall.
Interior decorations
The interior preserves an important cycle of Romanesque frescoes, probably created in the first quarter of the 12th century. The paintings, already in a state of decay in the 16th century, were restored in 1967 and 1991-1993.
South wall (left as you enter)
It contains a cycle dedicated to Saint Martin: the saint's death, the theft of his remains, his arrival in Tours, the miraculous mass of Saint Ambrose, and his funeral. Fragments on the left half may refer to the martyrs of Anaunia: Alexander, Sisinnius, and Martyrius.
Counter-facade
In the upper register, Christ enthroned is depicted flanked by the Apostles. In the middle register, the three Patriarchs with souls in their laps and scenes from hell. The Last Judgment is not depicted in its entirety, but rather a vision of the afterlife before the end of time, emphasizing the role of the Church as a link between the faithful and salvation.
North face
It depicts three episodes of the Progenitors: the original sin, the expulsion from Paradise, and human labor. This is followed by a series of martyr scenes that Elena Alfani has interpreted as referring to the Five Martyrs of Sebaste, Armenian saints venerated in the Byzantine world.
Figured plinth: the months
Beneath the frescoes are symbolic representations of the months of the year, linked to the theme of work and the cycle of nature. Among these are March with a horn, April with leaves, July with a harvesting stick, September and October with the grape harvest and sowing, and a figure that could represent November or December.
Iconographic meaning
The pictorial cycle displays a strong Ambrosian influence. In addition to Saint Ambrose, symbols such as the cruciform candelabrum and Milanese saints such as Casto and Polemio, whose relics were discovered in Milan in 1105, also appear. The stories of the martyrs of Anaunia also recall Ambrosian spirituality. More difficult to explain is the presence of the martyrs of Sebaste, who may allude to the turbulent events in Milan and the Da Giussano family.
Historical news
The Gattedo castrum has been documented since the 13th century as a fiefdom of the Da Giussano family. It was demolished in 1258 by order of Pope Innocent IV because it had become a refuge for heretics, but the church was spared. The first mention of the chapel appears in the Liber Notitiae Sanctorum Mediolani, at the end of the 13th century:
"In Marliano loco Gatheo. Ecclesia sancti Martini".
Without the frescoes, it would be difficult to recognize San Martino as a Romanesque church. The houses built against the south side have blocked the two original single-lancet windows. The interior decoration, although partially damaged and altered over the centuries, displays a coherent and unified layout.
Carugo Tower
In the historic center of Carugo stands the Tower, an ancient defensive structure likely dating back to the Lombard era, which for centuries served as a strategic observation point over the plain. The structure was part of a castle mentioned as early as the 9th century, later destroyed in the 13th century during the struggles between the Guelphs and Ghibellines. Over the following centuries, the tower underwent several renovations, gradually losing its original features, such as the Ghibelline battlements, which finally collapsed in 1910 following a tornado. The building, now partially converted into a residence, nevertheless retains a strong symbolic value for the local community.
Numerous popular legends surround the tower, including that of the mysterious "Cunt Carüc," a shadowy figure who allegedly used underground tunnels to abuse the inhabitants. According to oral tradition, a passageway still connects the tower to a courtyard in the village, known as the "count's lair." Although many of these stories cannot be historically verified, they demonstrate the tower's central role not only in the military and political history of the area, but also in the collective imagination of Carugo.
Carugo Tower
In the historic center of Carugo stands the Tower, an ancient defensive structure likely dating back to the Lombard era, which for centuries served as a strategic observation point over the plain. The structure was part of a castle mentioned as early as the 9th century, later destroyed in the 13th century during the struggles between the Guelphs and Ghibellines. Over the following centuries, the tower underwent several renovations, gradually losing its original features, such as the Ghibelline battlements, which finally collapsed in 1910 following a tornado. The building, now partially converted into a residence, nevertheless retains a strong symbolic value for the local community.
Numerous popular legends surround the tower, including that of the mysterious "Cunt Carüc," a shadowy figure who allegedly used underground tunnels to abuse the inhabitants. According to oral tradition, a passageway still connects the tower to a courtyard in the village, known as the "count's lair." Although many of these stories cannot be historically verified, they demonstrate the tower's central role not only in the military and political history of the area, but also in the collective imagination of Carugo.
The "Brianza nel '900" Museum
The "Nel Novecento" APS Museum Association was founded in Carugo in December 2008 by volunteers with the aim of creating a museum collection of all the objects and tools that characterized the last century.
The Association is a non-profit organization. The progress made in the museum project and all the initiatives the Association has undertaken in the area have been made possible only thanks to the valuable contributions of supporters and the work of volunteers.
The museum is located in Carugo at Via Don Gnocchi, 1 and is open to visitors.
Church of Sant'Adriano - Olgelasca
The Church of Sant'Adriano in Olgelasca di Brenna:
An isolated and almost hidden gem, nestled at the edge of the forest and hidden from the gaze of passers-by, the church of Sant'Adriano is a jewel as small as it is precious. The church we see today is the result of an extraordinary layering of work and interventions carried out over different periods.
From the Origins to the Middle Ages: Benedictine Nuns and Ancient Cults
The small oratory we see today can be dated to the period between the 11th and 12th centuries, when the Benedictine nuns of San Vittore di Meda, having acquired the Olgelasca oratory, initiated major renovations. The small church's unusual location, still isolated today, could be explained by its construction over the remains of a pagan temple, located in secluded, wooded sites, unlike Christian churches that stand in the heart of towns.
The Singular Dedication to Saint Adrian
Another peculiarity requiring explanation is the oratory's dedication to Saint Adrian, a knight martyred under Diocletian, a saint far from well-known in the Milanese diocese. The choice of the Benedictine nuns was due to the striking similarities between the story of this martyr and that of Saint Victor, titular saint of the monastery of Meda: both were noble knights, young men, who lived in Roman times and were martyrs.
Text and images from: chiesettadisantadriano.it
Pictorial Treasures: An Interior Rich in History and Symbolism
The interior of the small church, in its simplicity, preserves pictorial testimonies of extreme interest, both from a qualitative and iconographic point of view, offering particularly original solutions.
The Apse and Saint Hadrian: In the apse, the oldest surviving image (early 12th century) depicts Saint Hadrian in the "praying" position. A little further to the right, a more recent image (dated 1497) depicts him as a blond youth, dressed in precious damask robes and carrying a sword and spurred boots to indicate his rank as a knight. Also present are images of Saint Bernardino and Saint Sebastian.
The Trinity and the Tetramorphs: The iconographic complexity of the apse is noteworthy. The Trinity is preferred to the more common image of Christ in a mandorla: Christ crucified supported by God the Father and the dove of the Holy Spirit, set within an iridescent mandorla. Around them are the Tetramorphs, symbols of the four evangelists. At the corners of the apse are Saints Roch and Sebastian, traditionally invoked against the plague.
The North Wall: Madonna del Latte and Other Saints: On the north wall, the only surviving image is a priceless Madonna del Latte: a refined and noble image, with the infant Christ holding a little bird, a harbinger of his destiny. At floor level, a scene from the life of Saint Gregory and, higher up, two figures: Saint Bovone, a knight who converted to the contemplative life, and Saint Thomas with the Virgin's girdle.
