Borsano
Borsano is a frazione of inhabitants in the municipality of Busto Arsizio in the province of Varese. Until 1928 it was always an autonomous municipality, apart from in the period between 1869 and 1912.
Etymology
The suffix -ano in the name "Borsano" could be one of the clues to its Roman origin. The Roman presence is supported by some authoritative evidence.The name Borsano is also used for one of the frazioni of the municipality of Calestano, in the Province of Parma. According to a volume by Salavolti and Soragna, the Borsani or Borzani family name would have originated from this place. However, more recent studies claim the opposite. Martino Giovanni Maria Borsani, a relative of the Bishop of Parma Bertrando da Borsano, practiced as a notary in Calestano, where he acquired land and built a villa called Villa Borsana; around this villa, the hamlet of Borsano grew.
History
In ancient times, its territory was divided into three cadastral municipalities: Borsano, Custode, and Rasino.In the Middle Ages, Borsano was part of. Administratively, it belonged to, one of the four contadi into which the Duchy of Milan was divided, and with it, it was included in the fief that Emperor Frederick Barbarossa granted on 9 June 1164 to Rainald of Dassel, Archbishop of Cologne and Archchancellor of the Holy Roman Empire. It was precisely here, in the countryside between Busto Arsizio and Borsano, that the initial phases of the famous Battle of Legnano were fought between the fearsome German emperor and the Lombard communes.
In 1670, the archdeacon of the metropolitan church of the city of Milan,, purchased Borsano for approximately lire. Borsano was thus a fief of the princes Rasini for decades. At the behest of Prince Carlo Rasini, between 1717 and 1719, a church dedicated to the Portuguese Franciscan friar St. Anthony of Padua was built next to his villa, which was restored in 2007.
The, with its surveys of 1722, provides a detailed overview of the territory. The village bordered to the north with the then-independent municipality of Sacconago, to the northeast with and Castellanza, to the east with the borough of Legnano, to the south with Dairago, and to the west with the former independent municipality of Bienate. The parish church marked the southern boundary of the settlement.
In 1853, Borsano, a municipality with a population of inhabitants, was included in the XI district of Cuggiono. In 1861, when the Kingdom of Italy was established, the municipality had a population of inhabitants. Borsano was an autonomous municipality until 1869, when it was aggregated with the municipality of Sacconago. On December 12, 1912, the municipality of Borsano was reconstituted and remained autonomous until 1928, when it was finally united with Busto Arsizio. At the 1931 census, the resident population was 2,413. Two years later, the residents had decreased to.
In the 1950s and 1960s, the "Giuliani e Dalmati" neighborhood was built in the northern part of the territory, so named because it was intended to house about two hundred Italian exiles from the lands of Istria, Venezia Giulia, and Dalmatia in the post-World War II period. Many families of exiles came to live in this area of Borsano, which is configured as a semi-independent neighborhood, equipped with shops, services, and schools. In honor of the exiles' places of origin, streets and roads were named after symbolic places of the ceded lands. There are also some statues erected to Saint Blaise, dear to the Istrian-Dalmatian culture. Today, a significant number of families of Istrian, Julian, and Dalmatian origin still live in the "village," a strong testimony in the city of this historical period. Later, migratory waves from Libya joined the neighborhood, and, more recently, from Eastern Europe, further characterizing the village as multicultural and with inhabitants deeply tied to the homeland. The memory of the Foibe massacres remains particularly vivid, and every year conferences and testimonies on this topic are organized.
Monuments and places of interest
Although it is currently a neighborhood of Busto Arsizio, Borsano was an independent municipality for centuries. Despite being a modestly sized village, it was largely self-sufficient in many respects. The building that served as the municipal headquarters for years, later a kindergarten, and abandoned for decades, underwent a building renovation and has now become the "Casa della Salute," a polyclinic also managed by the Italian Red Cross. Thanks to the renovation, the building is now equipped with energy-saving technologies, earning it a Class A rating. Adjacent to this building is the former Marconi school, the historic elementary school of Borsano, now partially used as municipal offices and partially as a detached section of other school complexes.There are several buildings of historical, architectural, or artistic interest in Borsano, although some of the most significant works of this heritage, such as the 19th-century parish church and the 14th-century Santa Maria dei Restagni church, were demolished during the last century. Previously, another of Borsano's treasures had been lost: the elegant and extensive Italian garden of Villa Rasini, the residence of the noble feudal lords of Borsano.
Despite this, the recent restoration of Sant’Antonio da Padova, the small 18th-century church commissioned by Count Carlo Rasini, is a sign of the desire to recover part of the architectural and artistic value that Borsano once boasted. Through the efforts of the "Gruppo Ricerche Storiche" of Borsano, a painting depicting the Risen Christ by Giovanni Battista Crespi, known as Il Cerano, was rediscovered and exhibited in 2005 at a monographic exhibition dedicated to him at Palazzo Reale in Milan.
Religious architecture
The most notable buildings in Borsano for their history, architecture, and the artworks they preserve are undoubtedly the two churches: the parish church and the Church of Sant’Antonio da Padova. This reflects the fact that the Borsano community has had the church as its vital center for centuries. Religious life, from the Middle Ages until a few decades ago, was the cornerstone of the Borsano community. A concrete and relatively recent example of this fact comes from the reports sent to the Curia by parish priests Don Antonio Gallarini and Don Enrico Ballabio. In the first it is attested that only three men had not communicated the previous Easter. In the second the balance is seven men and one woman.Another sign of Borsano's religious fervor is the confraternities, a form of supra-family association that sometimes had charitable aspects. The two main confraternities in Borsano were that of the Holy Rosary and that of the Blessed Sacrament. Mass participation is documented until the early 20th century.
Among the existing buildings, in addition to the parish church and the one dedicated to Sant’Antonio da Padova, the cemetery and the oratory, founded in 1911, are noteworthy.
Church of Saints Peter and Paul
The parish church of Borsano is located in Piazza Don Antonio Gallarini and was built starting in 1939 on land adjacent to where the 19th-century building stood, blessed in 1825 and demolished in 1943. The latter had replaced the old 16th-century church, demolished in 1817. The new church was consecrated on 17 October 1942 by Cardinal Ildefonso Schuster, in the midst of World War II.The project was designed by engineer Garavaglia and architect Ascani. The tripartite facade foreshadows the three internal naves. The main altar is the work of architect Ascani. The organ, from the demolished 19th-century church, was built by Antonio De Simoni Carrera in 1885 and restored in 1992 by the V. Mascioni family of Cuvio.
The Via Crucis and the counter-facade, from 1987 and 1993 respectively, are works by local artist Serena Moroni. The new stained glass windows of the nave are by Don Gaetano Banfi, while those of the presbytery and the facade's rose window are by Paolo Rivetta.
The three bronze portals are the work of sculptor Alberto Ceppi, who also created the mosaics on the facade and those in the apse.
The imposing square-based bell tower at the back of the church was erected in 1958, designed by architect Ascani, to replace the one from the 19th-century church, demolished in 1953. The bell set consists of nine bells, holding the Ambrosian record for a manual bell set.
Church of Sant’Antonio da Padova
In the neighborhood's territory, there is also a second church, dedicated to Saint Anthony of Padua, the Franciscan Portuguese saint. The building, the most notable in Borsano both historically and architecturally, was commissioned by Count Carlo Rasini between 1717 and 1719, adjacent to his residence. The church was, in fact, a sort of private chapel: through a small window above the altar, the counts could attend Holy Mass directly from their Borsano residence.In 1728, Carlo Rasini had a new altar erected in the church, dedicated to Saint Liborius, Bishop of Le Mans and patron saint against kidney stones. Until the early last century, the church of Sant’Antonio da Padova held the Aurora Mass, fulfilling the wishes of the Rasini family. The building also served as a place where people gathered to purchase silkworm eggs, which were then raised in Borsano households. Cocoons were also brought here.
Through the restoration of 2007, some remarkable frescoes emerged on the walls. The paintings can be attributed to the painter Giovanni Stefano Doneda Montalti Jr. The oil painting on canvas behind the altar depicts Saint Anthony, the Guardian Angel with the Child Jesus, and, higher up, the Madonna. The subject of the fresco on the left wall behind the altar is the miracle of the mule. The fresco on the right wall behind the altar depicts the miracle of the healed foot.
On the church's facade, there was a panel dedicated to the saint. By the 1960s, the colors had almost faded, and in 1985, the Club Folclore e Sport commissioned the Busto Arsizio painter Gigi Magugliani to create a new painting, which was placed in the original position. The panel was removed during subsequent restorations and could not be returned to its original position. In 2012, after a restoration commissioned by the Borsano Club to Giulia Lucarelli and Silvio Combi, the painting was placed inside a steel and glass structure, designed by architects Elena Colombo and Davide Candiani, and positioned at the intersection of Via Novara and Via 24 Maggio, in a flowerbed provided by Agesp, the former Busto Arsizio municipal company.