The Ecclesia Sancte Crucis of the castle of the Counts Guidi, which was the parish church of the da Vinci family, appears today in the neo-Renaissance forms of the most recent, radical restoration, dating back to the 20th century. The medieval church must have had the typical single-hall layout, with semicircular apse, to which was added an architraved portico supported by Tuscan columns. The interiors were radically transformed, during the 17th and 18th centuries, in the internal configuration of the altars. In the 18th century, there were no fewer than ten, created on the initiative of noble families of Florentine origin and religious congregations, beneficiaries of the altars themselves. Only two now remain, positioned at the heads of the side aisles. On the right, the one dedicated to the Madonna of the Rosary, on which there is a painting showing the iconography of the Madonna offering the Rosary to the Dominican saints. On the left, the altar of Sant'Andrea, patron saint of Vinci, with a painting depicting the Nativity of the Virgin (1562) attributed to the workshop of Francesco Brina. The beautiful painting of the Magdalene in Meditation, attributed to the workshop of Alessandro Rosi and dating to the last quarter of the 17th century, comes from an altar belonging to the old church. An image of the church of Santa Croce before the complete reconstruction of the last century can be seen in a painting by Telemaco Signorini, and also in a photo from the early 20th century, conserved in the Biblioteca Forteguerriana of Pistoia, where one can still see the portico abutting the church's gable roof facade, and the 19-century bell tower. Between 1929 and 1935 the church was completely rebuilt to a plan by the architect Giuseppe Gullino. The interiors were completely reconfigured, while outside, the project of the new facade has erased the long portico that protected the ancient accesses to the parsonage (on the left) and the oratory of the Compagnia del Corpus Domini (on the right). The oratory, completely rebuilt and inaugurated in 1952, now houses a suggestive proposal for the “baptistery” of Leonardo da Vinci.