Building of uncertain foundation, perhaps from the 14th or 15th century, it is characterized by the unusual square shaft bell tower, low and squat, which is believed to have reused an ancient medieval tower for the protection of the village.

Dedicated to the saint traditionally protector from the plague and other infectious diseases, the church was once located right at the beginning of the village, almost a heavenly sentinel tasked with keeping the contagion from outside at bay.

The building, covered with tiles, has a smooth facade with an eye at the center of the pediment and a door with a worked frame and tympanum.

Photo Luigi De Nadai

On the left, in a small window, there is an ancient and curious "little hand" in stone that invites the faithful to make alms in the appropriate slot.

The interior is a single hall with a beautiful ceiling with exposed beams; notable is the elegant holy water font with floral decorations (16th-17th century).

The main altar (late 17th-early 18th century) is a graceful Baroque product in polychrome marbles; it houses an intense Resurrection by Pierino Sam (1985), also the author of the terracotta Stations of the Cross paintings (1965). In the intrados of the arch, there are some faded devotional frescoes commissioned by a certain Mario Viana, dating back to 1638, a period of plagues, with a bearded San Rocco.

The right altar (18th century), enlivened by inlays in polychrome marble, has a central round bas-relief of great finesse with the Madonna among the angels blessing Saint Peter, perhaps coming from the castle chapel dedicated to Saint Peter, and a modern wooden statue of San Rocco, work of Carlo Pancheri of Ortisei (1943).

Excerpt from Le Chiese di Polcenigo by Alessandro Fadelli