The Basilica of San Gaudenzio is an important place of Catholic worship in the city of Novara, famous for its dome, 121 meters high, by Alessandro Antonelli. It has the dignity of a small basilica. The architectural complex consists of three main elements made in different construction phases: the church, the bell tower and the dome A first temple devoted to the saint existed since 841 at the beginning of the current avenue XX Settembre ; The building was subsequently rebuilt and re-consecrated in 1298. Between 1552 and 1554 the Spaniards of Charles V decided to transform the city into a military stronghold, so all existing buildings outside the city walls, including the basilica, were destroyed. In the same years, the "Stonework Factory of the Basilica of San Gaudenzio" was established, with the purpose of overseeing the restoration of the church. The design was entrusted to Pellegrino Tibaldi, which is due to the accentuated verticalism of the building and the sense of promising plasticism from the façade and sides, both of which are niches, pedestals, and columns that are extremely projection. The first stone was laid in May 1577; The consecration took place on 13 December 1590 by bishop Cesare Speciano when the transept and the presbytery had not yet been erected. The entrance of the basilica, of monumental proportions, is closed by a door in walnut, with rosettes and molten iron heads , By Alessandro Antonelli. The church is a Latin cross-shaped plant with a single nave, alongside six lateral chapels connected to each other, with a large transept and a deep presbytery. Suspended in the center of the aisle there is a huge chandelier with wrought iron flowers in memory of the encounter between Gaudenzio, bishop of Novara and Ambrose, Bishop of Milan. The first chapel on the right side is called the "chapel of the Good Death"; The banner representing the Deposition of Jesus is the work of Moncalvo while the frescoes on the vault and the canvas of the Universal Judgment on the right wall are of Morazzone. Following is the "chapel of the Circumcision" (second on the right side), where a large baroque wooden frame surrounds the work of Giovan Battista Della Rovere, called the Fiammenghino, depicting Jesus circumcised in the temple. In the "chapel of the Crucifix", crucifix traditionally attributed to Gaudenzio Ferrari, originally located in the demolished basilica outside the walls. At the top, on the altar, Graceful Russe Angels. On the left wall: Madonna, fresco from the 15th century from the oratory of San Luca. On the opposite side of the nave there is the "Chapel of Our Lady of Loreto" (third of the left side). Around the altar frescoes by Stefano Legnani, and on the right wall, crib, fresco by Bernardino Lanino from the monastery of Sant'Agata. In the "chapel of the Nativity" there is the great two-story Gaudenzio Ferrari polyptych (1516), previously preserved in the old basilica and brought here after its demolition. The work is divided into three parts: the upper one is depicted from left to right: the archangel Gabriele, the Nativity, the Virgin Annunciated in the lower one: St. Peter and St. John the Baptist, the Madonna with the Child among the Saints Ambrose and Gaudiz, Saint Paul and Saint Eusebio or Sant'Agabio. In the predella, 10 small brown and biacca squares depict Sant'Ambrogio, San Gregorio Magno, San Gerolamo, Sant'Agostino, alternating with episodes of Gaudenzio's life. The frescoes that decorate the chapel are of Paolo Camillo Landriani while on the left there is a portrait of the knight Gerolamo Bollini. In the "Chapel of the Guardian Angel" (before the left side), frescoes by Tanzio da Varallo (1629); The canvas on the left wall depicting the Battle of Sennacherib (1629-1630).