The origin of Quincinetto is remote, at least at altitude, as testified by prehistoric findings at Bric Renon (m.2266). But the first settlements in the valley bottom date back to the Celto-Liguri populations. The very name Quincinetto may once have had a desinence in -acco or -asco, like the neighbouring Tavagnasco, which in the Celtic language would indicate a place built along a water course.
However, in medieval documents, the oldest of which dates back to 1222, it is also mentioned as Castrum . A fief of the Bishop of Ivrea, it was ceded to Count Verde, Amedeo VI, on 30 November 1357.
In turn, the Savoys granted it in jurisdiction to the Lords of Settimo Vittone.
At first glance from the outside, Quincinetto tends to hide the rural architecture it still possesses: old houses with losa roofs arranged along cobbled streets. As is also entirely cobbled the pretty Piazza Vittorio Emanuele with the small chapel of Santa Marta, the massive bell tower and, elevated by a short flight of steps, the parish church of Gesù Risorto dedicated to San Salvatore: although records dating back to 1297 testify to its medieval origin, it was in 1770 that it was rebuilt with its current late baroque style to a design by the architect Bella. The façade of the Quincinettese parish church, probably repainted in the 19th century, houses seven statues of Saints and Apostles in niches, and a bas-relief Risen Christ at the top end. The 35-metre-long interior, with three chapels on each side, was frescoed by the 18th-century Lombard painter Giovanni Cogrossi of Treviglio, a singular figure of a very religious artist, much appreciated in the Canavese area.
A fresco by Cogrossi can also be found in the eighteenth-century church dedicated to San Quirico in the still intact alpine village of Scalaro (1413 m), built in an optimal position to be protected from winds and avalanches and reached by a beautiful mule track that overlooks, in the first section, the summit of the ’Rupe’, the wall that rises 200 metres above Quincinetto.
However, in medieval documents, the oldest of which dates back to 1222, it is also mentioned as Castrum . A fief of the Bishop of Ivrea, it was ceded to Count Verde, Amedeo VI, on 30 November 1357.
In turn, the Savoys granted it in jurisdiction to the Lords of Settimo Vittone.
At first glance from the outside, Quincinetto tends to hide the rural architecture it still possesses: old houses with losa roofs arranged along cobbled streets. As is also entirely cobbled the pretty Piazza Vittorio Emanuele with the small chapel of Santa Marta, the massive bell tower and, elevated by a short flight of steps, the parish church of Gesù Risorto dedicated to San Salvatore: although records dating back to 1297 testify to its medieval origin, it was in 1770 that it was rebuilt with its current late baroque style to a design by the architect Bella. The façade of the Quincinettese parish church, probably repainted in the 19th century, houses seven statues of Saints and Apostles in niches, and a bas-relief Risen Christ at the top end. The 35-metre-long interior, with three chapels on each side, was frescoed by the 18th-century Lombard painter Giovanni Cogrossi of Treviglio, a singular figure of a very religious artist, much appreciated in the Canavese area.
A fresco by Cogrossi can also be found in the eighteenth-century church dedicated to San Quirico in the still intact alpine village of Scalaro (1413 m), built in an optimal position to be protected from winds and avalanches and reached by a beautiful mule track that overlooks, in the first section, the summit of the ’Rupe’, the wall that rises 200 metres above Quincinetto.