"The first document that testifies to its existence is a papal bull of 1184. From that period only the twelfth-century crypt remains, which can be accessed from an adjacent room. It was largely renovated in the 15th century by the will of Bernardo Quaratesi, who commissioned the Quaratesi Polyptych (1425) from Gentile da Fabriano, today dismembered and divided into various museums. The restoration work made necessary following the flood of 1966 made it possible to find some fragments of the original fifteenth-century decoration, including a fresco of Sant'Ansano attributed to Francesco D'Antonio.
In the Gurdini Chapel there was the altar table by Masolino da Panicale depicting the Annunciation (1425-1430), now in the National Gallery of Art in Washington D.C.
The cenotaph of Astorre Gianni is kept in the Gianni chapel: the Gianni were the first owners of the nearby Gianni-Lucchesini-Vegni palace.
In the following century Vasari gave it a new arrangement by inserting monumental altars with paintings by Poppi, Empoli and Curradi.
An altar was built by the Nasi family, whose coat of arms, a shield divided by a silver band with two silver wheels above and one below (on a blue background), is located at the base of the columns. On the altar the painting by Francesco Morandini, known as Poppi, represents Jesus resurrecting the son of the widow of Naim.
Another altar of this church houses a carved and colored wooden Crucifix, an "unknown" work. At the base of this crucifix there is a weapon-reliquary, containing the bones of Blessed Manno, an Irish monk, of the Order of Saint Bridget of Sweden (founded in 1367). Most likely this reliquary is a gift left by the Nasi family who had received it from the religious of the Convent of Brigida al Paradiso in 1529, when they were housed in their palace in search of refuge during the siege of Florence.
Also from the period of the siege, the church, in particular the bell tower, have some historical memories: Michelangelo hid for a few days in a cramped room at the base of the bell tower thanks to the complicity of a bell-ringer whose name is unknown. following the capture of Florence by the Medici, against whom he had openly sided against, defending the Florentine Republic. Michelangelo had in fact compromised himself considerably against those who had been important clients of him, becoming responsible for the construction of the defensive walls on behalf of the republicans, but thanks to his fame as an artist he was able to later return under the protective wing of the rulers without reprisals. .
On the choir loft near the back wall of the apse is the pipe organ, built in 1581 by Dionigi Romani, restored in 1683 by Francesco Cappelletti and modified and enlarged in 1769 by Antonio Tronci who rebuilt the chest and the wind chest. Fully mechanical transmission, it has 17 registers. The case, richly decorated with gilded carvings, presents on the front wall the exhibition divided into several fields, original, made up of main canes; in the lower part of the façade there is a window console (with a single keyboard and pedal board), to the right of which is the register, with the handcuffs arranged in two horizontal rows.
In the sacristy there is the fresco with the Madonna della Cintola, attributed to Alesso Baldovinetti. Here there are also other works of art, including the polyptych of the Intercession by Gentile da Fabriano."
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