Chiavenna, Collegiata di San Lorenzo

The original church dates back to the 5th century.
In 1537 (16th century), a fire destroyed the trussed oak ceiling, which was replaced by vaulting. Other important works were carried out in 1719 (18th century), when the imposing columns in granite were added.
In front of the church is a large four-arched portico with slender columns in “ollare” stone constructed between 1629 and 1649 in Renaissance style. The plaques on the walls declare that the portico sits above the ancient cemetery with its aristocratic chapels.
The interior preserves the Romanesque structure with three naves. It was entirely frescoed by Filippo Fiori of Como in the second half of the 17th century.
Among the works in the interior is an excellent painting by Giuseppe Nuvoloni (Milan, 1619-1703), an artist who carried out a sophisticated recuperation of 16th century models. The painting depicts "Sant Antonio da Padova with Madonna and Child" (left chapel). The four paintings with episodes from the life of the Saint and the frescoes with angels playing musical instruments in the dome are also by him.
Worthy of note is the painting of "Sants Domenico and Giovanni Nepomuceno with Madonna and Child" by Pietro Ligari (1686-1752) of Valtellina, an eclectic artist whose paintings and frescoes can also be found outside the valley, especially those of a sacred character.
To the left of the church is the Baptistery, an octagonal construction from the 18th century in which is preserved the Romanesque Baptismal Font from 1156. The circular basin is a monolith in “ollare” stone with sculptures in half relief depicting the consecration of the water and the administering of the first Baptism on Holy Saturday. The "Man on a Horse with Falcon" is an emblem of the nobles of feudal origin; the "Man Emerging from a Crenulated Wall" is the symbol of the neighbours, that is the owners of the land in the nearby countryside; the "Blacksmith Beating the Iron" is the emblem of the artisans and merchants.
The side door of the church leads to the quiet little square of the presbytery, with its entrance to the Treasury of the Collegiate Church. The most important object in the museum is the “pace”, a gospel book cover from the 12th century supposedly donated by a German archbishop.