The ancient parish church of Cividate was built in the 5th- 6th century A.D. on a preexistent place of pagan worship. During the excavations in 1949, they put in light the primitive building level consisting of a three apses premise. The church institution, centre of Christianity in the area, but also economic and administrative fulcrum, picked up the heritage of the centrality of Cividate in Roman times. In the 11th century the building was enlarged and rebuilt in Romanesque style, as for S. Stefano Church. The architectonic survivals of this stage are just the lower portion of  the bell-tower, that preserves traces of the ancient narthex (entry hall to the ecclesiastic building) early Middle Ages, and the apsidal part in which we find the characteristic elements of this style. The apsidal front presents a wall face which testifies a remarkable building ability. Between regular courses of stone ashlars you can notice inserted herringbone fired bricks, that remember a technique used in Roman epoch, named “opus spicatum”. The following openings have compromised the original structure two narrow lateral single lancet windows of which remain, inside spaces scanned by thin pilasters.
In the 15th century the building was enlarged again, with the lengthening of the nave incorporating the baptismal church, consecrated to S. Giovanni Battista. This anomalous situation is documented by pastoral counter- Reformation visits and in 1580 S. Carlo Borromeo orders the modification of it. At the beginning of 18th century they began the final transformation of the church, in Baroque style, the first stone was laid in 1706. The inhabitants of Cividate actively took part in the reconstruetion both giving nature goods and money and supplying working days. In  1752 the works  a have term, but the church assumes its final structure with the setting of the entry portal in marble, in 1780 and raising the bell tower by 8 metres in 1877. Inside there are numerous works of art among which    “ Madonna with the Infant Jesus and the Saints Stefano, Lorenzo, Giovanni Battista and Girolamo”  by Callisto Piazza, of 1529 , “the altar-piece of the Assumption by Pietro Scalvini of 1750, the high altar, excellent marble work, of 1752 and Antonio Guadagnini’s frescoes of the 19th century.