with the name of "parish of San Magno and San Salvatore", and finally the new church: Magnus of Milan later became also the patron saint of the municipality of Legnano. As far as the name is concerned, the legnanese basilica was originally known as "church of San Magno". On 7 August 1584, on the occasion of the transfer of the provost tax from Parabiago to Legnano, change of location decreed by cardinal Carlo Borromeo, archbishop of Milan, the religious building changed its name to "provost church of San Magno" and the parish priest of Magnus of Milan acquired the title of provost. The transfer of the provost tax from Parabiago to Legnano (which also led to the creation of the parish church of the same name) was dictated by various reasons: from the greater number of inhabitants of the village of Legnano, to the fact that the church of San Magno was larger than the parabiaghese church of Santi Gervasio and Protasio, by the presence of the hospice of Sant'Erasmo and by the availability, in Legnano, of greater resources, also economic, as well as by the presence in the village of Milan of various ecclesiastical structures, including some convents. Faced with the displacement of the provost, the Parabiaghsis appealed to the pope, but without success, given the endorsement of the archiepiscopal decree by the Roman Curia, which occurred in 1586. Officially acquired relevance also from the most important ecclesiastical hierarchies, from this century onwards, the legnanese church began to be called, to emphasize the relief, "collegiate church of San Magno". On March 19, 1950, with a papal bull, Pope Pius XII raised the provost church of San Magno to a Roman minor basilica, from which the modern name descended. The plan of the basilica Architecture The church The plan of the basilica is typically Renaissance. It no longer follows the typical elongated rectangular shape towards the altar of medieval churches, but has a central octagonal plan that allows a perspective view in all directions. The visitor, in every position, can indeed find perspective angles, foreshortenings and architectural spaces that satisfy the view. In the Middle Ages, however, the perspective was all centered on the high altar. The Bramantesque churches do not have a main façade around which secondary volumes rotate, but they have a series of symmetries and perspective spaces that have about the same importance and form the whole