The first reliable information dates back to the year 1414 when, from the report of a pastoral visit, we know that the apsidal tribune - in those times still deprived of covering - was rebuilt. It does not emerge from the reports whether the church hosted one, two or three aisles, although it is certain that there existed a wall dividing the presbytery from the faithful. Not much is known about the furnishings and the information that have reached us is sparse and contradictory. Instead, as far as the iconography is concerned, among the various pieces are listed two crucifixes, a statue of San Maurizio and a Madonna and Child.
Recently, in the area below the roof a wooden crucifix of large dimensions was discovered which appertains to the iconographic collection also comprising the Arch of Augustus’ Saint Voult, the crucifix in the Fénis castle’s chapel and the crucifix in Challand-Saint-Victor.
The Bell Tower
Even though pastoral visits do not give us much precise information, it would seem that the bell tower is of very ancient origins. In fact, the first pastoral visit – dating back to 1414 – said about it “statis bene”, whilst the second - dated 1416 - defines it as “antiquam”; these definitions do not necessarily contrast inasmuch as the bell tower could have easily been in good condition and at the same time antique.
The third visit - dated 1421 - only makes reference to the church’s spire deficiencies and doesn’t mention the bell tower. In 1416 the present day bell tower, very modern for that epoch, could not have been judged antique, thus its date of origin is certainly more recent than 1421.
The kind of script and the Val d’Aostan gothic style - the same as the bell tower in the Franciscan monastery in Aosta commissioned by Aimone and Bonifacio I of Challant, main builders of the Fénis castle - would point to its having been made not long after this date.
The Rebuilding of the Church
The church was rebuilt between 1720 and 1727, though the works probably took place between 1723 and 1725. We do not know for certain what might have been built and what might have been saved from the already existing structure. In fact, the accentuated vertical development of the building is in line with Val d’Aostan Late Baroque architecture, though having said that the architectural plan of a three-aisled church is typical of the International Gothic period. The apse, rising from a square plan, might seem like a fifteenth-century tribune reconceived as an octagonal-based lantern in Baroque style.