The panel is dated at the early XVI century. It represents Madonna, being seated on the throne, and a silk drape with rhomboid knitting as its background. The drapery of the mantle has orderly folds realized with a tecnique similar to the style of Bernardino del Signoraccio, a Pistoian artist who knew the culture of the Florentine Renaissance.

The church appears in records only from the XIII century and it was restored during the XVI and XVII centuries. It has a single nave closed at the eastern end with a semicircular apse.
Inside, on the left hand side, there is a triptych with the Madonna, the Child and the Saints dated to 1428 and painted by the Pistoian artist Bartolomeo di Andrea Bocchi.

Inside there is a triptych entitled 'Madonna on the throne and the Child between Saint Hippolitus, Saint Jacopo, Saint Michael and Saint Stephen' (1439), attributed to the Pistoian artist Bartolomeo di Andrea Bochi.
The compositional scheme of this altarpiece is similar to that one realized by Nanni di Jacopo at the early XV century and now conserved in the church of Saint Francis in Pescia.

It is a Tuscan artwork dated to the XVIII century. It is an example of devotional
painting inspired by 'Madonna dell' Umiltà' conserved in the homonymous church in Pistoia. The artwork represents Virgin Mary being seated on a pillow on the ground while she is breastfeeding the Child.

In the church of Saint Michael there is a fresco which represents the miracle of Saint Blaise healing a young boy. It is dated to the early decades of the XIV century. The subject concerns one of the two episodes about the figure of the saint, whom powers against sore throat are attributed to. It is possibile that the fresco was part of a wider cycle about the life of the saint.

The alms box, dated to 1656, is in the church of Saint Michael on the left side, near the triptych realized by Bartolomeo di Andrea Bochi (1439), a Pistoian artist. It is made of iron and pietra serena, which is engraved with an iscription: ''ELEMOSINE/PLANIME/DEL PUR/GATORIO'. These type of works were widespread during XIV and XVI century, in accord to the doctrine of indulgences: a part of the consequences derived from a sin could be cancelled with an offering (oblatio) in favor of the works of Church, reducing the permanence of the souls in Purgatory.