A cultural initiative in Piedmont is unlocking a trove of priceless medieval frescoes in rural churches

The Santa Maria di Missione chapel in Villafranca Piemonte, northern Italy, stands at the end of a long cornfield. Behind it, the mountains rise gently, their outlines caressed by the sun. The colours of autumn frame the 15th-century frescoes that embellish the structure’s interior, painted by Italian artist Aimone Duce, of the Lombard school. The chapel is the municipality’s oldest religious building, serving about 4,000 inhabitants, and stands on the site of a pre-existing building dating back to 1037.

Inside the small chapel, my footsteps echo softly against the walls, breaking the stillness of the surrounding countryside. The sharp scent of plaster mingles with the earthy smell of the fields outside, carried in on the wind along with the sweetness of wheat. Light filters through the narrow windows, catching the vivid hues of a fresco that depicts the seven deadly sins – a theme often revisited in medieval iconography.

A cultural initiative in Piedmont is unlocking a trove of priceless medieval frescoes in rural churches

The Santa Maria di Missione chapel in Villafranca Piemonte, northern Italy, stands at the end of a long cornfield. Behind it, the mountains rise gently, their outlines caressed by the sun. The colours of autumn frame the 15th-century frescoes that embellish the structure’s interior, painted by Italian artist Aimone Duce, of the Lombard school. The chapel is the municipality’s oldest religious building, serving about 4,000 inhabitants, and stands on the site of a pre-existing building dating back to 1037.

Inside the small chapel, my footsteps echo softly against the walls, breaking the stillness of the surrounding countryside. The sharp scent of plaster mingles with the earthy smell of the fields outside, carried in on the wind along with the sweetness of wheat. Light filters through the narrow windows, catching the vivid hues of a fresco that depicts the seven deadly sins – a theme often revisited in medieval iconography.

A cultural initiative in Piedmont is unlocking a trove of priceless medieval frescoes in rural churches

The Santa Maria di Missione chapel in Villafranca Piemonte, northern Italy, stands at the end of a long cornfield. Behind it, the mountains rise gently, their outlines caressed by the sun. The colours of autumn frame the 15th-century frescoes that embellish the structure’s interior, painted by Italian artist Aimone Duce, of the Lombard school. The chapel is the municipality’s oldest religious building, serving about 4,000 inhabitants, and stands on the site of a pre-existing building dating back to 1037.

Inside the small chapel, my footsteps echo softly against the walls, breaking the stillness of the surrounding countryside. The sharp scent of plaster mingles with the earthy smell of the fields outside, carried in on the wind along with the sweetness of wheat. Light filters through the narrow windows, catching the vivid hues of a fresco that depicts the seven deadly sins – a theme often revisited in medieval iconography.