It is named after the person considered the greatest artist ever born in Cernusco. Born on June 1, 1874, Viganò attended teacher training schools and immediately showed talent for painting. This inclination, however, did not prevent him from actively participating in the political life of the town. Initially aligned with the socialists, during the 1908 strikes at the Baletti silk factory he acted as an intermediary with the owners and was also among the founders of the progressive-leaning Cernusco Building Cooperative. Founder of the Italian Association of Etchers and Engravers, and in friendly correspondence with Giovanni Pascoli (from whom he drew inspiration for a Pascolian Album), Viganò later joined the Fascist party and in 1929 moved to Rome, where he held important exhibitions and gained national fame. Back in Milan, he held a solo exhibition at the Sforza Castle in 1933 and became associated with the design of the Duomo bell tower, which was supposed to rise between the cathedral and Palazzo Reale to 164 meters, surpassing the Madonnina. Grandly announced as the “Tower of Memories of Victories and Glories,” it was never built. A version of it can be seen on the painter’s tomb in the Cernusco cemetery. Along Via Cavour stretches the façade of the palace that once belonged to Carlo Giuseppe Somaglia, as documented in 1685. On the Teresian cadastre maps (1754), the building appears partly owned by Francesco Cotta on the western side with the garden and by Alessandro Castelsampietro on the portion facing Via Caio Asinio. In 1803 the property, once again unified, was registered to Domenico Staurenghi, and in 1868 passed to the Carini family, owners of a silk mill on Via Cavour. In 1921 the palace was acquired by Vico Viganò (1874–1967), who personally oversaw the restoration carried out in 1924, enhancing its decorative and pictorial aspects, fashionable at the time. The different building blocks enclose two courtyards: the larger one, aligned with the portal, opens onto Via Cavour. The exterior façades are articulated on the ground floor by doors and windows, and above by a row of oculi. On the upper floor, the windows are inserted into the cornice with a reverse gutter, breaking its continuity. The resulting spaces were painted by Viganò himself, including the portal hall. The portion along Via Caio Asinio was more picturesque, once featuring an oval with the Madonna Assunta. The complex was completely renovated at the end of the 1980s, with a residential expansion on the site of the former garden. The expansion project was designed by Vittoriano Viganò (1919–1996), son of Vico, a well-known architect in Milan and a professor at the Faculty of Architecture.