The Basilica of Santa Maria Assunta
 
The Basilica rises on the area of two churches, dedicated to Santa Maria: the first, of which we have the news of the famous parchment of the 974 testifies the importance of the village as a center; the second one, of which they miss some specify files, would go back to the XIV-XV centuries. According to a registration bulwark to the inside of the bell tower, previously the sacred 'fagetum' (forest of plants, from which the successive term 'faietto') on a modest height to west of the Arno, it had been theatre of pagans and celtic religious rituals. The actual 'Basilica' was constructed between the 1856 and 1861 on design of the architect Giacomo Moraglia, passed away which, Camillo Boito eclectic as much as the brother Arrigo (more famous like musician) completed the facade between 1868 and 1870. The nave of the temple is long 89 meters and for imposing the dimensions of its only and wide one until 17,30 meters and of the majestic chapel, with 18 meters of diameter and 27 of height. Beyond to numerous it frescos of Luigi Cavenaghi and to it putties of Celso Stocchetti, the Basilica accommodates, between its numerous sculptures, 'L'Assunta' of Giuseppe Rosnati, that one of the greater altar of Edoardo Tabacchi and San Giovanni Battista of the Duprè. The organ of 1922, recently restored, is source of prestigious offering musical.
The bell tower flanks the Basilica, recently (for wanting of Monsignor To restored, high 45 meters, begun Piantanida) in 1454 and therefore coeval, at least in the downstairs, to the second Basilica of Santa Maria Assunta.
In the hall of the Pinaconteca of the Museum are exposed important coming from paintings from the prevostal previous, the churches to sussidiaire and from donations of private citizens. Between these they figure works of Niccolò Pisano, Innocenzo Francucci da Imola, Daniele Crespi, il Morazzone, Nuvolone, Magatti, Giuseppe de Albertis, Malosso, etc. Of next opening the sections dedicated to the sacred vestments and the liturgical furnishings.

The Sant'Antonio Church
The small church, in central zone, has of the previous historians in the homonym oratory, assets in the '400 and center of several kinds of work. The actual construction is of the second half of the '700; it reveals the style, in a measured and harmonious baroque, of the canonical Busto Arsizio's Biagio Bellotti, architect and painter. Of the fellow-citizen Rosnati there are the statue of Santa Marta, the life of frescoes that representing Sant'Antonio to the walls and on the time, and those of the life of Santa Marta in the chorus. Posterior facade towards Corso Italia, opened in those years was restored in the 1962 from the architect Francesco Moglia with the creation of a pulling down the ancient Faietto.

The church of San Rocco 
Modest church but in zone of intense traffic situated on the Corso Sempione. San Rocco is an other of 'pitre vive' of Gallarate. It was indubiously of the age of San Carlo, which it reports some in the 1566 father Leonetto Clivone; the many restorations, not always resolutions, of it have compromitted the structure, much to put in perhaps, in recent age, its same fate. Is attributable to the beginning of the '500 (school of Bernardino Luini), the 'Madonna del melograno', put out of order from numerous repaintings.

The church of Saint Francisco 
Erected from 1906 to 1910 on a design of the architect Gaetano Moretti, it has beautiful times of style composite and ago memory, in the glass doors, Fanciscan friars, the promotings have intentional renew with its construction the cult of the Santo d'Assisi (S. Francesco), whose temple is near piazza Rinascimento (in passed Foro Boario). From 1965 with the erection of the contiguous monastery the church is entrusted to the cures of the Benedictine workshippers of the S.S. Sacramento.

The Sanctuary of Madonna in Campagna 
To who arrive by car from Busto cannot escape this sanctuary, placed side by side in asymmetric position to the viale Milano the Sanctuary of Madonna in Campagna. It was of the sixteenth-century when, for a ballot made from the 21 villager November 1630 (festivity of the presentation to the Temple of Maria Vergine), the famous pestilence of the "Promises Spouses" was arrested at the doors of the city. Remarkable the greater altar, operates of G. B. Rigoli and the Rosnati. The Madonna del Latte, to the center of the Ancona, of the XV-XVI centuries and comes from preexistent 'gesiolo' (a little chapel). In the church, are noticed also painted of Carlo Cane, cerchia of the siblings the Campi and Biagio Bellotti and one Madonna of the Mercedari (pertaining to the order of the Vergine Blessed soul of the Mercede) attributed to the Nuvolone. The Sanctuary and the entire district are animated in the last ten years of November for the traditional 'Rama of Pomm', one between the little festivals remained alive in Gallarate.

The church of the Contagious disease hospital 
Of the flagellum of the plague it makes memory also an other small temple of Gallarate: the little church of San Marco, plus famous like 'of the Contagious disease hospital', to the periphery of Cedrate. It did not rise but in occasion of a pestilence, but in 1721, nearly one hundred years after the epidemic of the 1629/30, in order to remember the many victims of this and the previous 'plague of San Carlo', confined in that rural zone. We cite the 'contagious disease hospital', trips into the country and modest goal a time of snaks to the open, for the engagement with which a group of citron juices it has assumed itself the burden to supply to gradual restoration, already actuated for the shovel of representing altar San Gregorio Magno, patron of afflicts with plague and for one burlaped of the 1600's Lombardic 'the rest during the escape in Egypt'.