The civilisation of the Middle Ages produced a curious phase of religion that showed itself not only in the Church, which distributed the bodies of Christian martyrs all over the country and robbed the catacombs of Rome for sacred relics in order that they might be adored in other places, but also in the action of the great nobles, who, to gain a little immortality, brought back from distant wars all they could lay hands on that might redound to their heavenly credit. In the case of Sigismondo it was, let us believe, a love of literature that prompted the theft of the bones of the great Platonist, Gemisthus Pletho, and placed them in the stone chest under one of Alberti's arches. There they rest near those containing the remains of kindred natures whom the warlike noble claimed as intimate friends.
The interior of the Tempio consists of a nave with side chapels and an apsidal choir. The roof is good open woodwork. There are four chapels on either side with the original pointed vault and groining. The Gothic arches which open on to the nave are covered with classic ornament. The spandrils are coloured green and are embossed with shields and a splendid floral design. The wall spaces between each chapel, as well as the west end, have a wonderful arrangement of very beautiful Corinthian pilasters that rest on a sculptured frieze with a blue ground on which are shields bearing the I and S. From this frieze depend floral festoons on bands of green and red, with medallions of coloured marble beneath. At the bases of the pilasters are figures holding shields. The whole of this design is executed in a grey stone of the same colour as that in the illustration. The piers of the arches of the two first chapels on either side are enriched by figures of knights and dames; the third by beautiful panels of nymphs and children carrying garlands, &c., on a light blue ground reminiscent of the Della Robbia. The fourth chapel on the south side has figures symbolical of the months of the year and the signs of the Zodiac; while that on the north has figures of saints on its piers, to which, instead of the usual classic bases, elephants of black marble have been substituted. The first chapel south is dedicated to S. Sigismondo, who sits on two of these great beasts. The Malatesta crest is above the altar. On one wall are delicately carved figures of angels drawing aside curtains from a crucifix; repeated on another, where the angels in even better attitudes part the curtains from a small closed window that looks into the Sanctuario. So delicately cut are these beautiful figures that the art which produced them seems almost plastic. The Sanctuario is closed and contains a fresco of Sigismondo Malatesta kneeling before his patron saint. The next chapel appears in the illustration. It is dedicated to S. Michele, whose figure above the altar is supposed to be a portrait of Isotta. She is interred in the tomb which the sketch shows. During the life of Sigismondo's two wives she was his mistress, but at the death of the second he married her and the record of their wedded life is a happy one. Her tomb is borne by elephants on brackets and is surmounted by a knight's helm with the Malatesta crest above.