The Church of Our Lady of Sorrows of Ruscio is built in the mid eighteenth century by Don Filippo and Don Biagio Peroni (uncle and nephew) and preserves various eighteenth-century works. Outside there is a plaque pointing to the passage of Giuseppe Garibaldi, who on August 29^th, 1849 stops in the house of the priest

The Church of the Blessed Virgin of the Seven Sorrows and Suffrage of the Souls of Purgatory of Ruscio (district of Monteleone di Spoleto), today better known as the Church of Our Lady of Sorrows, it is erected in the mid-eighteenth century by the Reverend Don Filippo and Don Biagio Peroni (uncle and nephew respectively), in order to enlarge the only local church, dedicated to St. Anthony. Don Filippo (first diocesan parish priest of Monteleone in 1717 till his death on 1757) sells a fund for the maintenance of the church, while Don Biagio Peroni (1707ca-1794), buried there, it provides the ground for the construction of the building. In 1749 the Bishop of Spoleto authorizes the opening of the construction works. The brothers Biagio and Gregorio Peroni in 1791 promote the establishment of the Charitable Sorrows in Ruscio, to which bind their assets, with the obligation to perform certain tasks: to provide for the maintenance of a priest chaplain, ensuring the celebration of daily Mass, to take care of the religious and administrative expenses, to keep to the studies a poor student of Monteleone in the diocesan seminary, or to provide a dowry to a poor girl of the country. The cult of the Seven Sorrows of Mary, settled in the late Middle Ages but officially and ecclesiastically approved only in the late seventeenth and in the early twentieth century, focuses on the following Bible episodes: 1. Mary in the Temple is listening to Simeon's prophecy: "And also you, a sword will pierce your soul" (Lk 2, 35); 2. Mary flees to Egypt with Joseph, taking away the baby Jesus to save him from the wrath of Herod; 3. Maria lost the twelve year old Jesus and found him, after three days of anguish, in the Temple of Jerusalem; 4. Mary, sorrowful, meets Jesus carrying the cross on the way to the Calvary; 5. Our Lady at the foot of the Cross, will participate in the suffering of the crucified and dying Son; 6. Maria embraces in her arms the dead Son; 7. Mary entrusts the body of Jesus to the tomb, awaiting the Resurrection. The cult of Our Lady of Sorrows is spread during the eighteenth century in the whole region of Umbria thanks to the preaching of Don Mattia Amadio (1674-?), the parish priest of Mucciafora, who witnessed in Norcia in 1735 a miraculous weeping picture of the Madonna. His presence in Monteleone di Spoleto is certified on several occasions. In 1949 the Church of Our Lady of Sorrows becomes parish of Ruscio, Trivio and Rescia; back under the subsidiary of San Nicola, by decree of the Ministry of Interior of 30^th April 2003, it becomes Rectory Church. The façade is the result of a series of transformations, which are concentrated mainly in the thirties and the forties between the years of the Twentieth century. It looks like a small temple with four pilasters supporting a large pediment; in the frieze there is the following inscription "MATER DOLOROSA ORA PRO NOBIS". The symbols of the Painful Mother (heart pierced by a sword) and the Passion of Christ (crown of thorns and three nails) are carved in relief in the small gable over the entrance portal. An inscription of 1919, affixed on the left window, remembers the countrymen died during the First World War. The bell tower rises on the right side of the structure, built in 1950 to replace the small bell of the left side, with three juxtaposed arches. The extended plant is divided into two areas by a transverse arch. Today's sloping roof has a wooden frame with tiles, but it is attested the original presence of a barrel vault (built in woven reeds), definitely lost after the restoration of 1949. Among the paintings there was a Flight into Egypt, probably part of a cycle depicting the Seven Sorrows of Mary. The main altar in gilded wood served as a side altar in the convent church of San Francesco in Monteleone. After being dismantled and placed at the Parish Church of St. Nicholas, in the late twentieth century this altar was restored by the priest of Ruscio, Mnsr. Sestilio Silvestri, and placed permanently at the Church of Our Lady of Sorrows, replacing the old eighteenth-century altar (masonry), destroyed during the restoration works after the earthquake of 1979 (when the building is extended in the chancel). The current altar has a beautiful predella laying a floral pattern richly painted and aloft a broken pediment, the top of the altar is painted with the scene of Death of St. Joseph, in the presence of Jesus and the Virgin Mary. The central space is occupied by a modern statue of the Lady of Sorrows, which in the twenties of the last century already replaces the altarpiece of the previous structure. The brass chandeliers are a gift of Rusciani in 1933, who make engrave their names on the basis of the furnishings. At the sides, on the bottom wall, two fragments of frescoes are exposed, belonging to the eighteenth-century decoration campaign of the church, depicting St. Emidio (protector of the earthquakes) and St. Filippo Benizi (whose name belongs to one of the founders of the church), in contemplation of a crucifix (the bishop's pastoral abandonment and the papal tiara in a marginal position can be read as symbols of surrender to an ecclesiastical career, while the black dress and scapular belong to the Order of Servants of Mary, an institution that stands out from 1233 for the dissemination of the cult of Our Lady of Sorrows). Our Lady of Sorrows with the souls in Purgatory of Roman School is made in the mid-eighteenth century and belongs to the old altar. Clouds and angels surround the Virgin, with her chest pierced by a sword and an ecstatic expression, indicated by the angel below, who, with his other hand, grab the hands clasped in prayer of a purgative soul. Bottom right there is an egg-shaped coat of arms with a pear tree, attesting Peroni patrons. In the restoration works of 2009, it is showed an afterthought (repentance) of the painter: in the belt area of ​​the Madonna, the artist begins to paint two of the seven swords that, in the iconography of the Lady of Sorrows, are sometimes used to pierce the breast of Virgin, in place of the sword. The eighteenth-century side altars in stucco, painted in the twentieth century in gold and faux marble, are decorated by original paintings restored in 2001. The right altarpiece depicts four saints, arranged to form a perfect circle. From the bottom to the left: St. Joseph (with a flowered stick) and beside a Santa to be identified; from top left San Giacomo (with linear stick) and Mary Magdalene (with jar of ointment). The left altarpiece depicts, instead, a series of characters arranged in a prospective outline set to three registers, with a view moving away from the bottom to the top. In the foreground, anchored to the ground, there are the Saints Ponziano (with a Roman dress and a flag), Biagio (with a carder comb), Antonio Abate (with a pork and a stick topped by a bell) and Vito (with dog); in the middle register, already reeling from the clouds, Saints Peter (with keys) and Paul (with the sword) are sitting; at the top the Virgin with the Child. Both paintings have recently been attributed to the hand of Paolo Antonio Mattei (1728-1780), painter of Castel San Giovanni di Cascia (PG). Other paintings are affixed to the walls of the church or preserved in the sacristy. On the outside wall of the annexed house of the priest, next to Via Garibaldi, it is also worth noting the presence of a commemoration plaque of the passage (documented) of Giuseppe Garibaldi, who stops there in August 29^th, 1849 ("ON JANUARY 29^th MDCCCXLIX / IN THIS HOUSE GIUSEPPE GARIBALDI STOPS FOR A FEW HOURS / WHEN HE BUMPED IN ROME IN ORDER TO DEFENSE IT / TO CLAIM WITH WEAPONS/ THE PEOPLE RIGHTS / - / AN ETERNAL AND GRATEFUL MEMORIAL / THE MUNICPE /  MONTELEONE OF SPOLETO / IN OCTOBER 8^th MDCCCLXXXII").