“Ever feel like you’re walking through layers of time?” I ask, gesturing towards the church of San Giorgio al Palazzo. This baroque-style church stands as a testament to Milan’s rich history. It is a beacon of faith amid the city’s bustling energy.
The story of San Giorgio al Palazzo begins long ago. It started in 750 AD. Archbishop Natalis founded a church on this very site. Imagine Milan in the 8th century. The church rose from the ruins of an imperial palace. Diocletian once used this palace as his seat. He governed one of the Roman Empire’s four parts from here.
San Giorgio al Palazzo became the burial place of San Natale. Documents suggest Natale led the archdiocese of Milan. He was a man of great culture. He spoke Latin, Greek, and Hebrew. Natale strongly opposed the Arian heresy.
Ratchis, Duke of Friuli and King of Lombardy, funded the original church. He was a nephew of King Liutprand. Ratchis prevented his brother from killing Liutprand. Later, Ratchis became king but lacked political skill. He was deposed and sought refuge in Monte Cassino.
San Giorgio was once home to Milan’s carroccio. This was a four-wheeled wagon. Milan’s militia gathered around it for battle. It served as a mobile church. Priests celebrated Mass before battles. Trumpeters encouraged the fighters. The wagon was pulled by oxen. It carried an altar and a bell. It also carried Milan’s heraldic signs. The capture of the carroccio meant defeat.
In the 12th century, a larger church replaced the original. The building changed over the centuries. Side chapels were added in the 16th century. Francesco Maria Richini renovated it in Baroque style in 1623. Francesco Croce designed the new facade in 1774. Luigi Cagnola restored the interior between 1800 and 1821. Alfonso Parrocchetti completed the bell tower and dome in 1899.
Step inside San Giorgio al Palazzo. The interior is the result of Luigi Cagnola’s work. The plan is a Latin cross with three naves. Round arches rest on Tuscan pillars. Rectangular windows light the central nave.
The first chapel on the right holds Gaudenzio Ferrari’s altarpiece. The Passion Chapel is on the fourth bay. Bernardino Luini painted panels and frescoes in 1516. The chapel is also known as the Capella del Corpus Domini.
Luini’s paintings depict scenes from the Passion of Christ. The Lamentation over the Dead Christ sits above the altar. The Crowning of Thorns is in the upper lunette. The cycle underwent restoration in 1953.
The Confraternity of Corpus Dominus commissioned Luini’s work. They were concerned with the Corpus Christi Festival and the Eucharist. They maintained an altar for the Eucharistic Sacrament. They took the viaticum to the sick and dying. The chapel was designed for the veneration of the Eucharist. Luini created a theatrical scene. It allowed engagement with Jesus’s sacramental body.
Legend says that a parish priest fell from Luini’s platform. He died. Luini fled to Monza. He decorated the house of the Pelucchi family. He fell in love with Laura Pelucchi.
Archbishop Carlo Borromeo decreed that the Eucharist be placed on the main altar. Luini’s work remained in San Giorgio al Palazzo. It survived Napoleonic occupation and British aerial bombardment.
So, as you stand here before San Giorgio al Palazzo, remember its long and varied history. It is a place of faith. It is a testament to Milan’s artistic and cultural heritage.