The present structure of the church, which is on the plan of a basilica with Romanesque traces, dates back to 1285, as we know from a Gothic inscription in the arch above the door: "A.D. MCCLXXXV tempore Enrici Pleboni Vitalis fecit fieri hoc opus". ("In 1285, in the time of Enrici Pleboni, Vitalis made this work to be done."*) But at the end of the 18th century it was given a new appearance: the original nave was divided into three, the middle nave now being higher than those on the sides with the arches resting on stout pillars.

On the interior walls there are some joints visible from the original bays. Along the left wall, there is a closed-in arcade, which has the curve of six arches along the top. These were in the space of the primitive, square- formed, Lombardic style bell tower, which was replaced in 1769 by the current belfry for bells cast in 1704.

Against the inside of the front wall are: an ancient, massive Romanesque baptismal fonte, originally resting under the basin in the right apse; and alter table, formerly belonging to the parish Church of Santa Maria Assunta; two column capitals, decorated with floral and leaf designs; two large wooden crosses (one formally located in a shrine adjacent to the Pieve and another Processional Cross of the Confraternity of San Bernardino).

On the first column on the right there is a niche which contains a Romanesque font for Holy Water. On the back side of the column is an inset stone carving, with a geometric design of obvious Romanesque making.

Inset into the second column on the right is very interesting small Etruscan alter, turned upside down and reused to serve as a shelf. The moulding is similar to, but smaller than on the Etruscan alter at Pieve a Socana, and the alter of the Locus Sacer of Fiesole.

*Tranlation by Dr. Anthony Damico

Maltese Cross on altar