Cenni storici

The complex consists of the Sanctuary dedicated to the Holy Trinity, three chapels and the arcade of the Way of the Cross. 
Since the Middle Ages, here stood a small place of worship, which in the sixteenth century housed two altars, one of which was dedicated to the Holy Trinity. In 1603, historian Paolo Morigia from Milan reported that "from everywhere people are journeying to the miraculous mount" attracted by the worshipping of the Trinity. The increase in the number of devotees led to the expansion of the building, which between 1590 and 1617 became a single-nave church with the chapel of the Trinity on the left.
From the mid-seventeenth century on, other structures and chapels were added without an apparent thematic link. Up until the nineteenth century, the plateau hosted fairs and festivals and on the occasion of the feast of the Holy Trinity participation to the church services guaranteed plenary indulgence.

The sanctuary

The sanctuary houses the fresco with the Trinity depicted as a tripling of the human figure of a blessing Christ with a hand over the globe in front of a table with three chalices - an iconography recurring between the thirteenth and seventeenth centuries - and, in the upper band, the Crucifixion, dating back to the third quarter of the sixteenth century.
On the central wall of the choir, the altarpiece shows the Coronation of the Virgin Mary along with representations of Saints Maurizio, Bernardino, Gaudenzio and Carlo Borromeo, located within the elegant seventeenth-century polychrome stuccoes created by Lugano artisans and attributed to Emilian artist Camillo Procaccini, created between 1610, the year of the canonization of Borromeo, here already depicted with the halo of holiness, and 1618, when Bishop Ferdinando Taverna on a pastoral visit to Ghiffa noticed it over the altar.