The Chiesa Parrocchiale di Santa Maria Assunta (Parish Church of Saint Mary of the Assumption) was built between 1855 and 1858 on the site of an earlier 17th-century church, which had to be demolished due to structural instability. The project was entrusted to Cesare Costa, an architect from Modena who also designed the Teatro Municipale (Municipal Theatre) in Reggio Emilia (today’s “Romolo Valli” Theatre). From that model Costa drew inspiration for  the chapel of the Beata Vergine delle Grazie - affectionately nicknamed the “Cappellone” (“big hat”)-, located in the left nave. Costa’s project also had to accommodate the pre-existing Baroque bell tower (begun in the late 17th century and completed in 1780), on the right side of the building. These constraints, together with liturgical orientation requirements (apse to the east, façade to the west) led to a hybrid layout, midway between the Greek-cross and Latin-cross. Although unfinished, the Church was consecrated and opened for worship on 5 December 1858.

The façade is horizontally divided: the low register, marked by pilasters, opens with three entrances - the taller central portal topped by a lunette, and two smaller side doors each crowned with a triangular pediment; the upper section, raised above the lower body, is completed by a large tympanum, while a broad molded frame visually connects and unifies the lateral wings. On the wall of an adjacent building to the right, a commemorative plaque marks the birthplace of musician Giovanni Rinaldi, maternal grandfather of composer Nino Za.

Inside, the church features three naves in Corinthian style, with a barrel-vaulted ceiling supported by cross-shaped columns. A semicircular apse closes the central nave, while the crossing is crowned by a grand dome with lantern. The transept holds two chapels: to the left, the "Cappellone", the only surviving structure of the 17th-century church; to the right the Cappella Fassati (Fassati Chapel), dedicated to Saint Joseph. At the beginning of the left nave stands a red Verona marble baptismal font, decorated with stucco marbling by the Bottega Emiliana (1900). Additional interior ornamentation, dating from 1911, was created by Giuseppe Moscardini.

The Cappellone houses a 17th-century fresco of the Beata Vergine della Pietà (later known as “Beata Vergine delle Grazie”), portrayed with Saint Anthony and Saint Roch. Traditionally regarded as miraculous, this image was originally painted on the wall of a house near the Tagliata canal, and transferred here when the chapel was purpose-built between 1726 and 1730. Two niches flanking the altar contain 19th-century plaster statues of Saint John the Baptist and Saint Joseph. At the end of the left nave is the chapel of the Madonna del Rosario (Our Lady of the Rosary). Its altar, with a polychrome marble ancona, dates to the early 18th century, as do the small canvases illustrating the Mysteries of the Rosary - though five were lost to theft. On the walls hang paintings by local artists: Madonna con Santa Caterina e Santa Barbara (Our Lady with Saint Catherine and Saint Barbara - 17th century, left), and Madonna con San Francesco e San Borromeo (Our Lady with Saint Francis and Saint Borromeo - 18th century, right). Completing the ensemble is a polychrome plaster statue of the Madonna con Gesù Bambino (Madonna and Child), produced in the second half of the 19th century by the Graziani-Collina workshop.