Parish Church of Santa Maria Assunta in Massa e Cozzile

The Romanesque Parish Church of Santa Maria Assunta, dating back to the 8ᵗʰ century, is found in the municipal territory of Massa e Cozzile. 
Legend has it that the church was consecrated by Frediano, the Holy Bishop of Lucca, at the time of the great Lombard conversion to Catholicism. 
Although there are no historical documents to confirm so, the memory of its ancient foundation is reinforced by a dedication to Mary, in keeping with the tradition of the oldest churches.
Rising next to a spring to fulfill its baptismal function, the Parish Church was positioned outside the walls to ensure free access to the sacraments and the cemetery area. 
In 1260, the church was reported to possess eleven sacred buildings. During the 14ᵗʰ century, it was incorporated into the new city walls, provoking protests from Buggiano, Borgo a Buggiano and Malocchio, who asked the pope for their autonomy. 

During the Renaissance, the parish church underwent a radical transformation. While retaining the Latin cross plan, it was enlarged to three naves and enriched with a three-arched portico. Adding further prestige to the structure is the dome of the apse by Gherardo Mechini, architect to the Grand Duke of Tuscany. 
On the right side stands the bell tower, dating back to the 12ᵗʰ century and raised during interventions in the 16ᵗʰ century.
The interior was enriched during the 17ᵗʰ century by eight large stone altars accompanied by eight paintings including the Deposition from the Cross by Sebastiano Vini and the Assumption of the Virgin with Saint Sebastian and Saint Roch by Giovanni Maria Butteri. 

Among the furnishings of note are a polychrome and gilded wooden statue of a Madonna and Child from the mid-14ᵗʰ century as well as the glazed and polychrome terracotta of Madonna and Child from the first half of the 16ᵗʰ century from the workshop of Benedetto Buglioni. 

In the sacristy is a splendid 15ᵗʰ-century Tuscan-made counter adorned with geometric inlays. 
The goldsmithing and textile heritage is likewise notable, including the embossed, chiseled and engraved silver Ostensory dating back to 1663 by Paolo Laurentini. 

Also by Laurentini is a 1664 Astylar Cross in embossed, chiseled, engraved and openwork silver. 
Of exquisite workmanship is the Reliquary of the Holy Cross made of embossed and engraved silver along with gilded decorative elements of refined elegance executed by an unknown Florentine goldsmith in 1722. 
The liturgical vestments are 18ᵗʰ-century Italian and French, in silver brocade and silk and gold embroidery. 
The white linen altar cloth of Umbrian manufacture worked in a “partridge eye” pattern is of great value.

The oldest fabric is a chasuble in silk and linen brocatelle, dating back to the first half of the 1500s and representative of the sought-after Florentine manufactures that produced high quality fabrics. Much of the goldsmith and textile heritage is preserved and displayed in the San Michele Museum.