Today, Santa Maria Assunta is the Parish church of the village. It stands in the main square facing the ancient Baptistery. It was mentioned for the first time in 1013 in a list of the parish priests who were present to a donation done by the bishop to the church of Novara. Later in 1132, the locality of Cureggio, already known as “curtis”, is clearly defined as Pieve and in 1157 some testimonial papers mention a certain Stefano as archpriest of Cureggio. It is a building of the second half of the seventeenth century but still preserves wall stretches typical of the Romanesque age: they are visible above the coverings of the aisles and along the north wall, where one can notice a door with a semicircular archivolt that today remains closed,. It is assumed it had a nave and two aisles subdivided by rectangular pilasters already in origin. The external walls are made of cobble-stones with herringbone layers and hanging archlets in groups of three (their traces can be noticed). According to Verzone the church is dated back to the third quarter of the XI century, while the belfry is posterior (1100–1125) since the walls and the decoration of the hanging archlets seem to be more refined. The interior keeps some frescoes ascribable to the XV-XVI century. The ancient Baptistery facing the parish church is the great jewel; it seems to be the Baptistery of the parish church and could date back to the half of the XI century. It has an octagonal plan with four protruding apses, two of them (east and west) still preserve the original wall, realized with stone pilasters subdividing the hanging archlets into groups of four. Each apse, or large niche, has a double-embrasure single-lancet window with stone archivolt; however they were covered in the XVI century. The building was built up with big square stones alternated with courses of smaller stones bound together with thin layers of mortar. The front is located on one side of the octagon and consists of a little door with a stone semicircular lunette. Inside, a fresco of the XIII century depicts Our Lady in throne with blessing Child and two Saints. The important baptismal font is in the centre, where scholars identify two different building stages: one of the XI century and a second one later.