Chiesa parrocchiale di San Giovanni Battista

The building faces west onto the square with a grand portico, supported by two monolithic octagonal pillars bearing the carved construction date: 1536.

The portal, carved in living stone, is dominated by a misaligned arch in Lombard Romanesque style, which extends semi-circularly above the lintel, framing the lunette where a Deposition from the Cross is frescoed.

The complex semicircular arch is in turn inserted into a "reverse keel" arch in Franco-Dauphine style, culminating in a fleur-de-lis surrounded by two dolphins, a testimony to the area's belonging to the Dauphiné, which ended only in 1713 with the Treaty of Utrecht.

Among the friezes are also carved the date of the work's completion, "1512," and the sculptor's signature, Mateus Rode.

The massive walnut door, worked in "diamond tips," dates back to the year 1680 and is the work of Eymard Lard, "master joiner" from Chiomonte.

On the right side of the church, there are traces of ancient frescoes: as a warning for the faithful and travelers, a series of Virtues, Vices, and corresponding Infernal Punishments were painted on three bands.

The bell tower, in Romanesque style, restored in 2013, appears very tall because three additional floors were added to the original five, between 1739 and 1741, in order to promote the spread of the bell sound throughout the municipality's territory.

The interior consists of three naves.
The side naves are separated from the central one by simple and multiple columns and complex Gothic piers on which rest the stylistically and iconographically diversified capitals.

The central nave, wider and significantly higher, ends in a luminous presbytery where the main altar is located.

The entire back wall is occupied by the Baroque altarpiece.
It was carved by Master Jean Faure from Thures and gilded in 1668 by Pierre Laurent from Briançon, as indicated by the date on the entablature.

The central structure consists of two pairs of Corinthian columns, with the lower third decorated with vines, which support an elaborate entablature and flank the central canvas representing the patron saint St. John the Baptist baptizing Jesus on the banks of the Jordan River, acquired in Lyon in 1638.

The broken curved pediment includes at the center, among full-round cherubs, a round frame with a painted image of the blessing Eternal.
The monumental tabernacle was instead acquired in Grenoble in 1661.
The wings of the altar, crowned by connecting volutes with the raised part, contain niches where the full-round wooden statues of St. John the Baptist and St. Roch are placed (the statue of St. John the Evangelist was stolen in 1979).

At the base, on the side of the table, two small doors open to access the sacristy on which medallions containing the images of the Ecce Homo and the Sorrowful Virgin are applied.

The interior walls of the church are decorated with interesting sixteenth-century frescoes, expressions of lively folk art that have survived moisture infiltrations and the ravages of time, appearing deeply chiseled.

They underwent this treatment centuries ago to make the layers of lime adhere to them, hiding and protecting them until 1905 when they came to light as a result of a major restoration campaign led by the architect D'Andrade.
They represent allegorical figures and saints revered by the people of Salbertrand: teachings and warnings to all the faithful who have entered this church over the centuries.
In the right aisle, a long inscription in Latin in gothic characters lists the days dedicated to acquiring indulgences for those who visited the church. It concludes by citing the name and homeland of the painter who dedicated himself to the frescoes, the name of the patron, and the date of creation: "I, Johannes Dideris de Avilliana, made these paintings at the request of Arnulphus Mense...1st December 1508".

Also depicted are scenes from the life of Saint Anthony the Abbot, the healing saints Rocco, Cosmas, and Damian, Saint Eligius, the patron saint of blacksmiths, the Universal Judgment, and an imposing skeleton, an allegory of Death, serving as a warning about the meaning of earthly life. On the wall corresponding to the bell tower, concealed for centuries by an imposing wooden structure, are three levels of overlapping frescoes dating from the 1300s to the 1500s.