In a town characterised by a typically medieval structure, probably the Church dates back to remote times. What's more, the name after San Giovanni Battista, as in similar cases, suggests that the hypothesis is plausible. However, the present Church seems an alteration, probably implemented in the Renaissance, of an existing building.
In the facade there is a certain simplicity of architectural design: its hut shape, with a triangular tympanum, with two lateral stone pilasters, suggests how the builders didn’t want to create an extraordinary effect. The triangle design is repeated in the cornice of the portal. An analogous impression of simplicity is present in the Bell Tower on the right of the Church: it appears vertically tripartite, it seems created by a genuine idea alien from complications.
Inside, a single nave ends with a semi-ellipse apse and there are round arches resting on rectangular pilasters. On both sides of the nave there are the chapels, with altars, niches and statues of Saints. All surfaces present stuccoes and colored plasters, sometimes painted as variegated marbles.
Despite its structural simplicity the Church of San Giovanni Battista maintains a precious artistic heritage. As regards the works of painting, there is a beautiful a painting that represents the Divino Amore (divine love) attributed by critics to one of Raffaello’s followers: it is a gift of Caracciolo’s family, that ruled the town of Fallo in the eighteenth century. Two precious furnishings produced by theNeapolitan school of jewellery can be dated back to this century: a chiseled silver ostensory and a processional cross. Although the origin of these art objects is unknown, it’s fair to say that either the Church or the village had a certain importance.