This picturesque village is enclosed by crenellated walls, presided over by embattled towers. It lies on a tuff bank amidst great cliffs. Because of its loyalty to Rome, in the Middle Ages it was given the privilege - which it still has - of being represented at the Campidoglio by a Constable and several footmen known as the "Faithfuls".

The first monument we come across is a Moai sculpted on the site several years ago by a group of artisans from Easter Island.

Just inside the Porta Romana, it is worth stopping in the church of Sant'Amanzio to appreciate a fine Annunciation of 1514. A little way beyond is a small square (with a graceful thirteenth-century fountain on a shaft with the symbols of the Evangelists), overlooked by the House of the Podestà and the Palazzo Comunale, which preserves an interesting collection of manuscripts, bulls and parchments, including an ordinance regulating vassalage dating to 1267.

The church of Santa Maria Assunta has a fine side portal and a soaring bell tower with three orders of single-light, double­light, and triple-light windows dating to the thirteenth century. Inside, besides remains of frescoes, we can see a Renaissance baptismal font and a pensile pulpit from the sixteenth century. The medieval quarter is picturesque, with alleys, small squares, “profferli” (external stairs), balconies, arches and the complex of the former convent of Sant'Agnese, now the premises of an elegant hotel. From several lookout points, we can enjoy a wonderful view of the gully over the Fosso Acqua Fredda. Just outside the town, at the beginning of the road to Viterbo, the church of San Nicola (annexed to the monastery of Santa Maria delle Grazie) preserves a fresco cycle executed by different hands at various times in the sixteenth-eighteenth century period, some of which are ingenuous and simple, offering us valuable documentation on contemporary customs and scenes. Others are more demanding, reflecting the influence of artists of rank belonging to the schools of Pastura, Pinturicchio and Perugino. Particularly worth mentioning is the Madonna of Succour between St. Mark and the bishop St. Liberato: the Virgin is spreading out her cloak as a symbol of maternal protection towards a great crowd of women in childbirth. Also of artistic merit is a St. Sebastian, probably executed some time around 1522. The magnificent scene of the Last Judgement and Glory of Christ that occupies the vault of the apse (dated 1548) shows, amidst the crowd of figures, a realistic image of Satan in the act of biting and swallowing one of the damned. The oldest painting is the fresco of the Madonna di San Nicola contained in an altarpiece on the high altar. As tradition would have it, this image is the protector of young newlyweds.