First mentioned as the plebe of Lentiago in the parchment code of 1204, it was erected as a stronghold of the bishopric of Ceneda for its strategic position between Belluno and Feltre in the territories of the municipality of Lentiai, the ancient county of Cesana, and the Zumelle fractions on the left bank of the Treche stream, except for Villa di Villa and Tiago.
The church is the result of the restoration that took place after the damage caused by the siege during the Cambrai War (16th century). The building was extended westward and widened southward, and the side altars were completed.
It was during this period that Cesare Vecellio painted the imposing wooden coffered ceiling.
In 1718 a fire devastated the ancient bell tower, leaving only the walls standing; subsequently, the altar of the Madonna del Carmine was erected, another crucifix was acquired (possibly sculpted by Andrea Brustolon), and the apse pavilion was arranged.
In 1880 the church was declared a National Monument, while in the 20th century major changes were made to accommodate the numerous faithful. The organ was placed behind the main altar, the 17th-century stone floor was changed, and the rediscovered frescoes of the central nave were restored.
Among the artworks present is the Wooden Ceiling completed with the pictorial intervention of Cesare Vecellio between 1577 and 1579. The twenty panels depict the Stories of the Madonna taken from the Gospels of Luke, Matthew, John, and the Apocrypha.
The bronze portal was created in 1992 by the Belluno sculptor Franco Fiabane in memory of the young Lentiaians who tragically passed away, while a fresco architecture above the columns hosts the Apostles bearing the book and their own attribute, marked by the name on the base shelf. The cycle is unanimously attributed to Cesare Vecellio.
At the end of the central nave, we find the Polyptych of the Assumption, the work that gives its name to the entire religious building. Created by the workshop of Titian, it depicts 8 Saints in narrow mosaicked niches, while the upper part of the polyptych portrays the Christ Dead attributed to the hand of Cesare Vecellio. Special mention goes to Saint Titian bishop who shows possible interventions by Tiziano Vecellio.
Architecturally, the environment consists of three spacious naves separated by two colonnades with 5 spans and a wide presbytery. The columns sculpted in local stone are crowned with simple volute capitals in a medieval style. Numerous are the other works contained within the majestic church by artists such as Francesco Terilli, Giovanni da Mel, Palma il Giovane, Luigi Cima, Pietro Liberi, Francesco Frigimelica, and Antonio Lazzarini.
The church is always open to visitors.
