The church of San Giovanni Evangelista is an important Romanesque complex in the center of Pistoia. The first documentary attestation is dated 1119, when the church is defined by bishop Ildebrando practically in ruins. The current building was probably started shortly after. The work continued until 1344. The records of the Pistoia Archbishop's Archives are documented by the commissions of completion of the north side 1323 and the apsidal side east of 1344. The building is regularly oriented, along the northern side, parallel to the disappeared walls, in great detail as the southern side gives onto the cloister, and façade and aptid side are poorly visible due to the buildings that almost touch the factory. The north side, therefore, has always been considered the true façade and in fact brings to the center the rich portal with the architrave sculptured and signed by the maestro Gruamonte who depicted the Last Supper (dated 1166). The work shows Jesus at the table with eleven apostles, while Judas is depicted below in front of him, to emphasize his extraneousness to the holiness of the group. The side has a characteristic Romanesque ornamentation in Pistoia, which imitates the typical murano wall of the Romanesque Pisan, with rows of arches on pilasters or colonnades with windows and lozenges inscribed in the arches, but made using a white and green dicroman decoration, of Prato that becomes so dense to optically overlook the purely complex architectural party. The church thus rebuilt, with a single aisle with an apse to the east, was submitted to the Proposed by Santo Stefano di Prato, under whose patronage it remained for about a century. At the end of this period the church was expanded, destroying the apse, extending the north side and embedding the north side of the cloister. It thus assumed the rectangular monoabsorbent classroom that it still retains. Entering to the left of the entrance, on the north wall is placed the white glazed terracotta group representing Visitation, the work of Luca della Robbia. This is the first preserved example of all-round glazed terracotta made in the Robbia's workshop with the glassing technique. Originally, the two figures were enriched by gilding on the hair and the garments. The work was commissioned in 1445 by the Fioravanti Pistoia family and was probably placed on the opposite side to the present one. The separation of the pedestal of the two figures, which are also touched upon, makes it more meaningful to bind their arms and to encounter the gaze between the Virgin, inviting Santa Elizabeth to rise and the latter, genuflished and imploring. Of great importance is the XII century marble aqueduct, at the center of the nave, with Cardinal Virtues, perhaps by Giovanni Pisano at the top. Divided to the south wall, the Pergamon of Fra 'Guglielmo da Pisa, for which Arnolfo di Cambio was suggested. Built in 1270, it was originally located in the Romanesque presbytery, dismantled in 1625 and relocated to its present position (1778). High relief relief sculptures made of marble apuana stood on a background only in conserved polychrome glasses. There are depicted Evangelists, and Scenes of the Gospel. The two lion stylists, placed parallel to the aisle in 1778, were brought back to their original position in 1947. Among the paintings, on the left wall of the presbytery, the polyptych of Taddeo Gaddi painted in 1350-1353 depicting the Madonna with Child and the saints Iacopo , John the Evangelist, Peter and John the Baptist. Above the larger figures, within the Gothic arches and columns tortillate other figures of half-figure saints and in the cimasa the Annunciazione in a twilight superseded by the figure of the Eternal Father inserted in a polylobata frame. Of 1307, are the frescoes with Passion Stories in the choir.