Church dedicated to San Mauro, as the omonimus village, is mentioned in some documents of the 13th century. The original appearance has unfortunately been altered by many interventions realised in the progress of history. The name of the saint persuades us to think that, originally, on that place, there was a Benedectine monastery. It has been hypothesized that the church was founded by the monks of the Badia di San Salvatore a Settimo. By the time of the pastoral visit of monsignor Gammaro (1514), about 400 souls were living in San Mauro. Two religious groups were present: the Santa Maria one, looking after the church, and the one of San Sebastiano, which was exclusively composed of men. The second one, used to have its assemblies in the premises next to the church, which was transformed into an oratory in 1627; the group, also, had the patronage of an altar located on the right of the main altar. San Mauro was mentioned as a priory around the 18th century. A portico leads to the church. The façade presents the coat of arms of the ancient Commune of San Mauro, which stands out on a mulberry. A pennant (1859) makes the completion of the roof. The interior has a single nave. The stained-glass windows are by Bottega di Fanfani(1943). On the left wall there is a niche with a statue, made of painted papier machè, representing the Madonna del buon pastore (Madonna of the Good Sheperd). The chapel decorated with a canvas (1620) represents the image of San Michele archangelo (Saint Michael Achangel), stylistically similar to the Florentine painter Francesco Curradi. According to the documents, the altar was a patronage of the Bertini family.

Considerably important, is the ciborium (1500 ca.) with the coat of arms representing a mulberry (ancient Commune of San Mauro?) by Bottega di Benedetto Buglioni. Above the main altar, there is a large mosaic by Caroti (1983). In 1950 the wooden crucifix, coming from Ortisei, was given to the church of San Mauro,by San Vincenzo de’ Paoli. In the chapel we can see the Martirio di San Sebastiano (Martyrdom of San Sebastian). The work comes from the aforesaid religious group dedicated to the Saint. The high quality if the painting is attributed to, the Florentine painter, Vincenzo Dandini. It goes back to the fifth decade of the 17th century. The “Compianto sul Cristo Morto”, (”Sorrow the Dead Christ”) is a gift by the famous tenor Mirto Picchi; it is a copy, performed by Giuseppe Santelli, the original one by Perugino, is preserved in the Uffizi. It follows a renaissance stone pulpit. On the right wall, we can see the following pieces: Madonna col bambino (Madonna with Child), between San Jacopo minore and San Giovanni evangelista; a wide partially glazed terracotta attributed to Luca della Robbia, the young one, da

ting from the second half of the 16th century. In 1906 The upper part of San Jacopo was removed and then recovered , now it is in the depots of the National Museum of Bargello in Florence.