The parish Church of San Nicola di Bari, attached to the castle, was rebuilt after the earthquake of 1703. Among the rich works of art, there are a painting attributed to Giuseppe Ghezzi and another that testifies an ancient popular belief (the tearing of limbs of the figure of San Biagio, considered curative).

The Parish Church of San Nicola di Bari (festivity days on December 5^th - 6^th ), originally a castle church, overlooking the village of Monteleone di Spoleto, is situated in the highest part of the old city, next to the mansion. It is likely that the foundation is to be placed in the early Middle Ages, along with the primitive castrum of Brufa, although the first known documents date back to 1310, when the baptismal font is moved from the parish church of Santa Maria de Equo in order to elevate the dignity of the parish church. There are short news about fiscal nature regarding the years 1333-1334 and a wider notation of pastoral visits held on September 2^nd, 1465 and on 23^rd -24^th  August 1611. Originally dependent on the Collegiate Church of San Gregorio Maggiore di Spoleto (to which belonged the appointment of the parish priest), following the earthquake of 14^th January 1703, for the defection of the Chapter itself (selfless about the enormous costs to deal with), the church is transferred to the Diocese of Spoleto. The first diocesan priest (and local) of episcopal ordination is D. Filippo Peroni (1717-1757); he takes the place of the last parish  priest ordered by the Church of San Gregorio di Spoleto, D. Baronio Vincenzi of Cerreto. For the strong commitment and involvement of Monteleone inhabitants, the reconstruction works start early long post-earthquake, which for shortage of funds go on for over a decade, while religious services are temporarily officiated in the Church of the Madonna del Carmine. The bell tower, reduced in size in order to avoid collapses in case of new earthquakes, It is terminated only in 1771. In 1731, the parish of San Nicola gets the priory of Santa Maria de Equo  o del Piano, with all its earnings and tithes, with the addition in 1755 of  a capital increase and prestige, with the erection of the Church in title, attested by two inscriptions now disappeared. There are some fragments of the portal of the late Gothic period (three of them are reused in a nearby tenement situated in via Pago and one of them is kept by private citizens), with branches intertwined grapevines, which are narrow compared with portals of the Churches of Sant'Agostino and San Francesco in Cascia (PG). In the nearby Franciscan monastery there are also preserved other erratic items, mainly collected from the parish priest D. Angelo Corona in the form of lapidarium in the hall of the upper cloister. It Includes the following elements, such as fragments of sculptures with racemes and plant motifs, a tombstone, the head of San Nicola dating from XV and XVI centuries, the canvas of the Annunciation of 1723 attributed to Agostino Masucci (approximately 1691 - 1758) and a baptismal font. Still rich in works of art, the church has a single nave plan, equipped with ten side chapels, each of them has its own altar (there are currently only two altars). The floor is tiled, made in recent years, while the coffered wooden ceiling is covered with canvas painted in tempera with floral motifs (previously it had a ceiling with exposed wooden trusses or beams). The ceiling above the main entrance and the organ are the result of the radical restoration operated in the mid-nineteenth century (between 1846 and 1852), as evidenced of it there is the heraldic insignia painted in tempera over the organ, where the state, the reigning Pope Pius IX (1792-1878, elected in 1846) and the Bishop of Spoleto Giovanni Sabbioni (from 1779 to 1852, invested in 1838) are painted. In several places the walls, repainted in the nineteenth-century, present traces of the oldest decorations. Among the various works, those of the Roma School are particularly worthy of note, which testify the close relationship between Monteleone and Rome. For example, in the third left chapel dedicated to Sant’Isidoro, patron of the farmers (festivity day April 15^th, when some races were organized, such as those of the straightest furrow with the plow and the best squared shaft with the ax), under the designation of "Agricolarum" is the Beheading of St. John the Baptist with Saints Anthony of Padua, Isidore and Mary Magdalene, attributed to the painter Giuseppe Ghezzi (1634-1721). A curious mention goes to another canvas coming from Santa Maria Assunta (now in St. Francis), the remaining part of a work originally wider. The canvas depicts St. Jerome as cardinal between the Saints Cristina, Antonio, Barbara and Biagio, in correspondence of the latter there is a gap in the pictorial support, which testifies the ancient custom of tearing small strips of the canvas, considered useful in the popular belief to treat various diseases throat. The altar table of the Eucharist is the gift of Mons. Raffaele Forconi, consecrated on 3^rd  July 1941 by Settimio Peroni, Bishop of Norcia. At the top, within the composite stucco altar (which imitates a polychrome marble) there is the canvas of eighteenth-century depicting St. Nicholas in the act of raising three children. To the sides, in the niches, there are the statues of San Leonardo and Santa Barbara, while in the vault is painted a beautiful perspective view of the Ascension of Assunta in heaven between angels and cherubs. A modern inscription on the right side of the main altar, at the access door of the parish house, testifies an architectural restoration works of the church, conducted by the archpriest and vicar D. Raffaele Tavani (1865-1937) in its eight years of administration. Under this plaque, built into the wall, there is a small stone for the holy water, whose outer face is carved with the symbol of Tau. In the main facade, rebuilt after 1703, the portal is characterized by the coat of arms of De Rubeis (to be connected to Don Pietro Giacomo Antonio, living in 1725), depicting a prancing horse and a head of the moor with turban, the year "1761" and the inscription "DIVO NICOLAO PATRIAE ET PAUPERUM PATRON" (to San Nicola, patron of the homeland and the poor). A minor access is opened, for practical reasons, in the seventeenth century, at the right side of the last chapel. In this stretch of road, which borders the small parish garden, there is the only stretch of ancient pavement still intact in stone and brick. Going down Via Pago there is a pretty Renaissance portal of the sixteenth century, with embossed and molded cornices with friezes found in some local paintings of the early decades of the sixteenth century. On the front of the arch, within a medallion there is the stylized effigy of the Saint patron. This church is linked to the ritual of "The Spelt of San Nicola", which takes place on December 5^th, the eve of the anniversary of the patron of the country. In the rectory of the parish a spelt soup is prepared and distributed at noon to everyone (starting with children, the privileged recipients). In this way it is remembered the miracle that tradition attributed to St. Nichola, who, passing through Monteleone and impressed by the poverty of its inhabitants, it would fed them giving them spelt.