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What is it and where is the church of San Giorgio al Velabro
In the heart of the Ripa district, amid the vestiges of ancient Rome, stands the Church of San Giorgio al Velabro, a place of worship that has its roots in the 7th century. Its strategic location, near the Arco degli Argentari and the Arco di Giano, makes it a meeting point between history and spirituality. The simple and austere facade, enhanced by a 13th-century portico, invites visitors to discover an interior rich in art and devotion.
Why it's special: the early Christian interior.
Once through the door one finds oneself in a striking early Christian setting, with a central nave flanked by two side aisles, separated by bare columns from ancient buildings. The round arches separating the naves accompany the eye to the apse. Here there is a 13th-century fresco attributed to Pietro Cavallini, depicting Christ between Saints George and Sebastian, which testifies to the artistic importance of the place.
Not to be missed: the Arch of the Argentari.
A fascinating detail is the presence of the Arch of the Argentari, partially incorporated into the structure of the church. This arch, erected by bankers and cattle traders in honor of Emperor Septimius Severus, features detailed reliefs depicting scenes of sacrifices and imperial figures, offering a glimpse of Roman public life.
A bit of history
Founded in the 7th century, the church has undergone several modifications over the centuries. In 1993, it was severely damaged by an assassination attempt, but thanks to meticulous restoration, it has been restored to its original splendor. Today, it is entrusted to the Order of the Holy Cross and continues to be an active place of worship and a symbol of historical resilience.
Fun fact: the secrets of the apse
The apse fresco has some secrets to tell. If you look at it closely you will notice that in addition to St. George, to whom the church is dedicated, there is also St. Sebastian, and the two figures seem to be of equal importance. The reason is found in the history of the church: at the time the fresco was made, it was still dedicated to both in saints. Another curiosity concerns the author of this work: the attribution to Pietro Cavallini is recent; in the past it was believed to have been done by none other than Giotto.
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