In 1565, Giorgio Vasari performed a Mannerist architectural overhaul on this 13th-century church. He did such a good job that in 1865, church officials hijacked what Vasari had intended to be his and his family's tomb, installed in the Pieve di Santa Maria, and reassembled it here in the Badia as the church's high altar. Vasari's paintings adorning the altar include a 1551 Calling of St. Peter in cotton-candy pastels and a watery classical background. On the inside entrance wall of the church is a 1476 fresco by Bartolomeo della Gatta, who painted a remarkably lifelike face of St. Lawrence in a trompe l'oeil niche. Past the third altar on the right is a 1320 Crucifix by Segna di Bonaventura. Above the transept is the restored trompe l'oeil dome painted on canvas (1702) by the baroque master of perspective illusion, Andrea Pozzo. There actually is a dome there, but it's a shallow one -- Pozzo was hired to make it look mightier. The best effect isn't from directly underneath but from the little bronze marker in the aisle near the front of the pews.