Majestic Historical Temples Stand as Silent Witnesses to the Centuries-Old Evolution and Cultural Transformations of the Eternal City.
These temples are not just repositories of faith but also magnificent architectural masterpieces that captivate with their beauty and grandeur. Embark on an exciting journey through Rome to explore some of its most famous and impressive churches.
Begin with St. Peter’s Basilica in Vatican City, a symbol of Catholic faith and a pilgrimage site for millions of believers. Gaze at the Pantheon, a remarkable blend of antiquity and the perfection of Roman engineering. Visit Santa Maria Maggiore, a magnificent basilica with rich history and stunning artworks.
These churches in Rome are not just stone buildings; they are living witnesses of history and culture, as well as places where faith intertwines with art. Inspiring millions of travelers and pilgrims from around the world, they remind us of the greatness of the human spirit and its aspiration for the divine.
Pantheon
For more than two millennia, the Pantheon has epitomized the grandeur of Rome. Its history is closely intertwined with the Eternal City. Originally built by Agrippa between 25 and 27 BCE, it was a temple dedicated to twelve gods and the ruler.
The existing structure is largely the result of extensive reconstruction by Hadrian between 118 and 125 CE. Remarkably, it is the only ancient Roman building that has remained largely unchanged through the centuries.
In 608 CE, Pope Boniface IV transferred the remains of numerous martyrs from the Christian catacombs to the Pantheon, officially converting it to Christianity and renaming it “St. Mary and the Martyrs.” This was the first conversion of a Roman pagan temple into a Christian church.
The Pantheon inspired Raphael, a prominent Renaissance architect, who expressed a desire to be buried here. The temple also became the final resting place for various monarchs, including Vittorio Emanuele II, the first Italian king since the 6th century, Umberto I, who was assassinated in 1900, and Queen Margherita, Umberto’s wife, who died in 1926.
When visitors enter the Pantheon on a sunny day, they can observe a large circular beam of light dancing on the dome and walls. The movement of the sun across the sky causes this light inside the building to behave differently each day of the year, but the same pattern repeats each year on the same day.
During the winter solstice, at noon, the sunbeam penetrates the oculus, illuminating the highest coffer. During the spring and autumn equinoxes, the sunlight illuminates the cornice marking the lower boundary of the coffer, and during the summer solstice, it illuminates the visitors at the entrance. The light symbolizes a direct connection between people and the deities, free from any religious intermediaries.
St. Peter’s Basilica
The largest cathedral in the world, from where the popes spread the teachings of God worldwide. The Renaissance-style building is located in Vatican City. It was erected in accordance with the ancient practice of building over the burial site of St. Peter, one of Jesus’ twelve apostles and the first bishop of Rome. To uphold this tradition, popes now find their final resting place inside the basilica.
It was built to replace the old structure that stood there between 1506 and 1626. Its design was the work of outstanding old masters of that era, including Donato Bramante, Michelangelo, Carlo Maderno, and Gian Lorenzo Bernini.
Initially, Bramante envisioned a plan that involved overlaying the Pantheon on the Temple of Peace, forming the shape of a Greek cross. Michelangelo modified the design, incorporating a colossal dome, recognized as the highest in the world.
Construction was completed over 329 years. Over time, the building fell into disrepair, prompting Pope Julius II to decide on its demolition and the construction of a new building. It was built in traditional Renaissance and Baroque styles and served as a source of inspiration for churches worldwide.
Access to the basilica is through St. Peter’s Square, a creation of Bernini. The oval courtyard is surrounded by a Doric colonnade, culminating in the front of St. Peter’s Basilica, designed by Carlo Maderno. The façade is adorned with towering Corinthian columns topped with statues.
Lateran Basilica
Occupies the highest rank among all religious buildings in Rome, surpassing such ancient and undoubtedly revered monuments as St. Peter’s Cathedral. The archbasilica houses the pontifical throne. Once, the first Christian church in Rome was located here.
Later, by the 9th century, the Cathedral of St. John the Baptist appeared on the Lateran Hill, which retained the status of the only papal temple for some time. The true dawn came for the Lateran Basilica when Borromini took on its reconstruction, giving the archbasilica bright Baroque features.
At that time, enormous bronze doors from the Roman Forum were transported and installed at the main portal. The Basilica of San Giovanni impresses with its rich fresco paintings and mosaics executed in classical Byzantine style. Carved ceilings, decorated columns, statues of apostles, ancient religious artifacts made of silver and precious stones – the basilica justifies the inscription above the main entrance: “the mother of all churches in Rome and the world.”
Santa Maria Maggiore
The largest among eighty churches dedicated to Mary in Rome. Built in 432 by order of Pope Sixtus III on the Esquiline Hill, on the site where Pope Liberius had a vision of the Virgin Mary. On August 5, mid-summer, an unusual event occurred when the hill was covered with snow. In memory of this, every year on the same day, white flower petals fall from the ceiling.
The mosaics inside, for example, in the nave and arch, date back to the original construction. The large marble columns are even older and probably originated from an ancient Roman building. Notably, the church has a remarkable golden coffered ceiling, commissioned by the infamous Pope Alexander VI and made from the first gold brought by Columbus from America.
The 14th-century bell tower is the tallest in Rome, reaching 75 meters. It is said that under the altar, known as the Sacra Culla, lie pieces of wood from Jesus’ crib. To the left of the main entrance is the Holy Door, which is believed to grant indulgence and forgiveness of sins if all four Holy Doors of Rome are passed through in one day.
The basilica also houses the burial monuments of Popes Clement IX, Paul V, and Nicholas IV. It is the final resting place of several other notable Catholics, including Saint Jerome and the artist Gian Lorenzo Bernini. Additionally, the basilica has a museum where visitors can explore the church’s history and view ancient masterpieces.
St. Peter in Chains Basilica
Also known as San Pietro in Vincoli. Initially dedicated to both St. Peter and St. Paul. It received the nickname “Eudoxia” because Empress Eudoxia, mother of Valentinian III, ordered its construction in 422 to honor the chains binding St. Peter. The basilica underwent reconstruction in 1475 under the patronage of Pope Sixtus IV.
During Pope Pius IX’s jubilee in 1877, the church underwent another restoration and improvement. In preparation for this, excavations were conducted under the main altar in 1876, revealing a 4th-century Christian sarcophagus. Inscriptions on the sarcophagus suggest it contained the relics of the seven Maccabean brothers, who were martyred and buried in Antioch and possibly brought to Rome by Pope Vigilius.
Legend has it that the chains of St. Peter, which bound him in prison, were gifted to Pope Leo the Great as a precious relic. Subsequently, St. Peter became the church’s exceptional patron. Under the main altar remain two sets of chains: one set is believed to be from St. Peter’s imprisonment in Jerusalem, and the other from his stay in the nearby Mamertine prison.
According to legend, these chains miraculously joined together at their first reunion. However, the church’s main attraction is in the right aisle, where the tomb of Pope Julius II, a member of the influential della Rovere family, is located.
Michelangelo originally planned a much more grandiose tomb for St. Peter’s Basilica. For this tomb, he sculpted three statues: the figures of Rachel and Leah, symbolizing active and contemplative life, and the colossal statue of Moses, glorifying the Pope as a leader of the Renaissance era.
Santa Croce in Gerusalemme
Located in the Esquiline district, near the Aurelian Walls and the Castrians Amphitheater. Emperor Constantine was responsible for restoring this complex and gave it the name “Sessorium.” This chapel later became the center of the Basilica of the Holy Cross, originally known as the Basilica Eleniana or Sessoriana.
The current appearance of the structure dates back to the 18th century. Architects Pietro Passalacqua and Domenico Gregorini made significant changes to both the interior and exterior of the church at the request of Pope Benedict XIV. They created an elliptical courtyard and replaced the medieval façade with a modern one, built of travertine. The new façade featured a sophisticated visual effect, incorporating a mix of concave and convex elements, matching the prevailing Baroque aesthetic.
The museum, founded in 1999 on the grounds of the Holy Cross Monastery, contains a collection of artworks of significant historical, artistic, and religious importance related to the basilica’s history.
In the “Painting” section, one can find frescoes depicting patriarchs and evangelists that once adorned the roof of the main nave and its triumphal arch in the 12th century. These frescoes were discovered during the 1913 restoration and were carefully removed to ensure their preservation.
The second section is dedicated to “sacred objects,” among which the “Tomb of Gregory the Great” deserves special attention. It houses various artifacts, the most notable being an image of the Pieta, dating from the 6th-7th centuries CE.
On the grounds of the Castrians Amphitheater is the Cistercian Garden, which has been associated with the basilica and its monastery for centuries. In 2004, the garden was redesigned by architect Paolo Peirone with the support of the “Friends of the Holy Cross in Jerusalem” association. The elliptical space is divided by two intersecting walkways covered with pavilions that converge at a central fountain.
San Luigi dei Francesi
A Roman Catholic church dedicated to the Virgin Mary, Saint Denis the Areopagite, and Saint Louis IX, King of France. Initially, it was built as a place of worship for the local French community under the patronage of Cardinal Giulio di Giuliano de’ Medici.
The church was designed by the renowned Italian architect and sculptor Giacomo della Porta, who was involved in several significant architectural projects in Rome, including the construction of St. Peter’s Basilica.
Although Pope Sixtus IV allowed the French community to build this church as early as 1478, actual construction between the Pantheon and Piazza Navona began only in 1518. The church is named after Saint Louis in honor of the French king. Construction took more than 70 years, and the frescoes inside were added much later.
One of the first attractions for visitors is the building’s façade. Giacomo della Porta created it as a decorative structure, separate from the main church building.
The travertine marble façade is adorned with carvings and statues by artists Nicolo Peppi and Jean de Chenevière. These statues depict French saints and historical figures, including Charlemagne, Saint Louis, Frankish Queen Saint Clotilde, and Saint Jeanne Valois, daughter of Louis XI. At the base of the statues are carvings of salamanders, symbolizing King Francis I of France and unwavering faith. At the top of the façade is the Valois family coat of arms.
In addition to the original façade, there are ten chapels featuring works by renowned artists, including the famous painter Caravaggio. Before leaving, take a moment to appreciate the faded 17th-century frescoes of Saint Cecilia by Domenichino in the second chapel on the right. Saint Cecilia is also depicted in an altarpiece by Guido Reni, a reproduction of Raphael’s original work.
Basilica of Santa Maria sopra Minerva
On the site now occupied by the Basilica of Santa Maria sopra Minerva and the former monastery were three temples dedicated to Minerva, Isis, and Serapis. This Dominican church became one of the city’s most significant churches in the early 14th century, housing over fifty friars.
Between 1797 and 1814, during the French occupation of Rome, it was repurposed as an infantry barracks, causing significant damage. In 1810, changes forced the friars to leave their monastery, and they could only return in 1825.
It is the only example of a medieval Gothic church in the city, consisting of three naves with ribbed vaults supported by pilasters. The bright blue vault, adorned with golden stars, offers visitors a breathtaking view, reminiscent of how the Sistine Chapel might have looked before Michelangelo’s decorations.
Several chapels with well-preserved Baroque designs are located along the side aisles, historically associated with the noble families Capranica, Aldobrandini, and Grazioli. These chapels are treasure troves of art, and the entire basilica can be considered an art gallery.
This wealth is due to the contributions of many exceptionally talented artists, including Lorenzo Bernini, Michelangelo Buonarroti, Filippino Lippi, Antoniazzo Romano, Maderno, ancient Barocci, and Melozzo da Forli.
Visitors can also appreciate two large organs located above the two transepts on choir lofts. The original instruments, almost identical and dated 1628, were made by organ master Ennio Bonifazi, but only their façades have survived.
Santa Maria del Popolo
A rather large building in gray and blue tones, it might not catch the eye at first glance, but behind this unassuming exterior lies true treasures. According to legend, this site once hosted the grave of Nero, over which a poplar tree gradually grew, quickly inhabited by crows.
This place was already considered cursed, and the appearance of the skeletal tree and black birds made the scene even less appealing. Everything changed at the end of the eleventh century, when the Pope had a dream. The Virgin Mary commanded the poplar to be destroyed and a church to be built in its place. First, a chapel appeared, and then the basilica itself.
The interior can be discussed for hours – many geniuses of their era left their masterpieces here. At different times, Giovanni Bernini, who gave the building its Baroque appearance, Raphael Santi, who decorated the dome with the grand mosaic “Creation of the World,” Caravaggio, the Italian master who gifted this place with two of his paintings, and Pinturicchio, although tourists will not be able to see his works, worked on the chapels’ design. The chapel he decorated was severely damaged and later reconstructed by Bernini.
Basilica of Saint Clement
East of the Colosseum is a small church, but under its low vaults lies a real treasure trove of Christian relics dating back to the time of Emperor Nero. Strangely enough, in this basilica, one can even venerate Orthodox saints, particularly the relics of Cyril, the creator of the Slavic alphabet.
The Tomb of Saint Clement – one of the basilica’s most important features – is located on the lower level. The local mosaics are of interest. In modern terms, they resemble comics, and many inscriptions are in a far from high style, allowing linguists to speak of the existence of an early Italian language.
Under the relatively new medieval rooms, ruins of an early Christian temple were discovered in the 20th century. Of particular interest is the Temple of Mithras, dating back to the third century. Today, only a grotto with stone benches and an altar remains. But archaeologists did not stop there – under the grotto were found remnants of civil structures destroyed during Nero’s time.
Santa Maria in Cosmedin
Has a simple, austere design, located on the left bank of the Tiber. Until the 4th century, this site hosted the Forum Boarium, and earlier still, an ancient temple built in honor of Hercules.
The first building served civic needs – it acted as a food distribution point for the poor, but gradually all charitable funds were concentrated in the hands of the Papal See, and by the seventh century, the complex became the property of the Greek community that fled to Rome when Byzantium fell.
Even the church’s name reflects those times: “kosmidion” – from the Greek “beautiful.” Such a characteristic was not accidental – the church’s interior is truly amazing. Cosmati floors, an authentic Gothic altar of red granite, a 13th-century Easter candelabrum, fragments of the Baptism of Christ mosaic (the remaining pieces are housed in St. Peter’s Basilica and the Uffizi Gallery in sunny Florence) – all this can be seen in the chapels.
The bell tower, one of the tallest in the city, is highly ornate and decorated with colorful majolica. An unusual symbol of the church is the “Mouth of Truth” – a marble slab almost two meters in diameter. The exact purpose of this relic of Antiquity is still unclear, but the Triton’s mask adorning it undoubtedly attracts tourists’ interest.
Santa Maria in Trastevere
Located in a quiet corner of the central square of Trastevere. In its original state, it dates back to the early 3rd century, but in the 12th century, the building underwent significant improvements, including the addition of a Romanesque bell tower and a magnificent façade. The portico, created by Carlo Fontana in 1702, appeared later.
Inside, the prominent feature is the 12th-century mosaic. Tourists can also see six 13th-century mosaics by Pietro Cavallini illustrating the life of the Virgin Mary, believed to have been created around 1291. Also noteworthy is a painting called “Madonna della Clemenza,” whose author remains unknown.
Scholars suggest this panel may have been made between the 6th and 8th centuries, making it one of the oldest surviving icons of Mary. The church is adorned with 24 ancient Roman columns, some of which were taken from the Baths of Caracalla, and has a 17th-century wooden ceiling.
Basilica of Saint Sabina on the Aventine Hill
Stands out for having preserved its original rectangular design and architectural style, providing a glimpse of what churches of that era, including the original St. Peter’s Basilica, looked like.
The exterior, characterized by large selenite windows rather than glass, closely resembles a 5th-century building. It was built by Peter of Illyria, a Dalmatian priest, on the site where Sabina, a Roman matron who became a saint, once lived, next to an ancient temple dedicated to Juno. Notably, 24 columns from this temple were repurposed in its construction.
The original entrance featured a cypress wood door, which remains the only monument of its kind in Rome. Like the 24 Corinthian-style columns framing the interior nave, this door likely originated from the pagan temple of Juno. The wooden panels on the door depict scenes from the Bible, including one of the earliest representations of the Crucifixion.
Across from the door in the wall is a small window through which one can see the monastery and the orange tree, which, according to Dominican tradition, was originally planted by Saint Dominic, the founder of the Dominican Order, whose headquarters were located at Santa Sabina.
To the right of the beautiful wooden portal is a small column marking the spot where, according to legend, Saint Dominic spent nights in prayer. Above it rests a black basalt stone, likely a remnant of an ancient Roman weight. Legend has it that this stone was thrown at Saint Dominic by the devil.
San Paolo fuori le Mura
The largest church in Rome after St. Peter’s Basilica and the third largest in the world is this immense basilica, located on the site where Saint Paul was buried after his execution in 67 CE. The church, commissioned by Constantine in the 4th century, suffered significant damage from a fire in 1823, and much of what visitors see today is a 19th-century reconstruction.
The new building has a grand exterior, attracting large crowds of pilgrims who seem small in the vast interior. Despite extensive restoration, many valuable artifacts have been preserved. Among them are a 5th-century triumphal arch, carefully preserved mosaics, and a Gothic marble ciborium located above the main altar.
This remarkable work was designed in 1285 by Arnolfo di Cambio, possibly in collaboration with Pietro Cavallini. Next to the altar on the right stands an intricate 12th-century Romanesque paschal candlestick, a creation of Nicolo di Angelo and Pietro Vassalletto, depicting eerie creatures with animal heads.
The portraits of the popes below the nave windows are worth noting. These portraits depict all the popes from the time of Saint Peter, and there is a legend predicting the end of the world when there is no more room for the next portrait. Interestingly, after Pope Francis, only six vacant spaces remain.
Sant’Andrea al Quirinale
Mentions of it can be found in manuscripts from the 12th century, with records of a church known as Sant’Andrea de Caballo, although it wasn’t until the 16th century that the name of Saint Andrew became associated with the Quirinal.
In 1565, the Jesuits settled on the Quirinal Hill after receiving a generous donation from the Bishop of Tivoli. This donation included the parish church of Sant’Andrea and several nearby houses.
The new building dedicated to Sant’Andrea and San Francesco Xavier was designed by Bernini and constructed between 1658 and 1678. It has an elliptical layout. The interior is adorned with polychrome marble and paintings created by renowned artists such as Ludovico Antonio David, Giacinto Brandi, Carlo Maratta, Ludovico Mazzanti, Giovanni Odazzi, Giovanni Gaulli (known as Baciccio), and the Burgundian painter Guglielmo Cortese.
The construction was funded by Prince Pamphili, whose family coat of arms can be seen above the pediment of the façade. At the top of the façade’s entablature, two fish surround a shell with the name of Jesus, symbols that can also be found inside the church.
Another important element is the wreath of pink flowers symbolizing martyrdom, accompanying the Pamphili family crest. This symbolism is further explained in the central painting behind the altar, depicting the martyrdom of Apostle Andrew through crucifixion.
A striking feature of Sant’Andrea is its innovative architectural design with a magnificent dome and lantern, creating multiple sources of light. Depending on the time of day, this design creates dazzling light effects.
Basilica of Saint Praxedes
Built in the 9th century and dedicated to Saint Praxedes. Known for its stunning original Byzantine mosaics. Saint Praxedes was an early Christian heroine who sheltered Christians fleeing persecution and buried those she could not save in a well. Today, a marble disk in the nave marks the location of this well.
It is considered the first church in Rome after Santa Sabina, and although initially thought to be modeled after the ancient San Pietro in Vaticano, its layout actually corresponds to the typical design of late classical and medieval Roman churches.
The building is a classic basilica with a central nave, side aisles, a transept, and a semicircular apse. On both sides of the side aisles are external chapels of various shapes and sizes: five on the right and four on the left. At the far end of the transept is an additional chapel, and at the corresponding left end stands a bell tower.
Built mainly of red brick, the basilica has a sloping tiled roof over the nave, but the transept roof is unique: it leads to the apse with only one slope. From the street, it remains hidden from view, and only the simple, unadorned walls of the right chapels on the western side of Via Santa Prassede are visible. The interesting shapes of the windows stand out on these walls.
San Lorenzo fuori le Mura
Dedicated to Saint Lawrence, a Spanish deacon martyred during the reign of Emperor Valerian, it has a long history. In the 4th century, Constantine built a tomb and decided to erect a cemetery basilica nearby in memory of the saint. Unfortunately, Constantine’s basilica was destroyed between the 9th and 12th centuries.
In 1216, Honorius III initiated a major reconstruction of the basilica. He demolished the apse and built a new church in its place. During World War II, it was the only church in the vicinity to suffer significant damage from Allied bombings.
In 1949, the façade and south wall were reconstructed, restoring its appearance. San Lorenzo fuori le Mura is notable for having two adjacent, though not perfectly aligned, structures: the Pelagian basilica, built in the 6th century and converted into the chancel, and the 13th-century basilica of Honorius, which forms the main part of the building.
The interior retained the 13th-century design but lacks a transept. The three naves are divided by 22 varied Ionic marble columns, possibly originating from Constantine’s basilica. Inside the chancel, one can see the ancient triumphal arch, which was once the entrance. An exceptional 6th-century mosaic depicts Christ seated on a globe, accompanied by Peter, Paul, Stephen, Lawrence, Hippolytus, and Pope Pelagius II.
On the eastern side is the 1254 episcopal chair, adorned with mosaic and polychrome marble. In the left nave of the baroque-style chapel dedicated to Saint Cyriacus are the tombs designed by Pietro da Cortona.
Mausoleum of Constantina
It is believed that around 330 CE, Emperor Constantine ordered the construction of a grand burial basilica south of the church located on the grounds of the current cemetery. This basilica was a massive building, 99 meters long and 34 meters wide, designed in the shape of an ancient Roman circus, technically referred to as a “circiform” plan.
The Mausoleum of Saint Constantina, the daughter of Emperor Constantine, was built in 340 CE. It is part of a grand complex of structures, including the remains of an ancient Constantinian basilica dedicated to Saint Agnes, a young Christian girl martyred at the former stadium of Domitian, which is now Piazza Navona.
Additionally, it includes the 18th-century basilica that still exists today and is also dedicated to Saint Agnes. It was intended that the remains of Constantina and her sister Helena would be buried in the mausoleum. In its current form, the church consists of an outer portico, followed by a nave with twelve bays, and a sanctuary consisting of seven spans, with an ambulatory on the lower level.
Except for the portico, which has its own lower roof, the church’s roof extends in one continuous stretch from the entrance to the far end, with a slight bend in the middle. This roof is possibly one of the longest tiled roofs among Roman churches.
Notably, there is no transept or any external chapels adjacent to it, except for a 19th-century chapel built in the corner of the sacristy. The original sarcophagus of Constantina, made of red porphyry, is currently exhibited in the Vatican Museums, specifically in the Pio-Clementine Museum, while the sarcophagus in the mausoleum is merely a replica.
Despite numerous damages over the centuries, the mausoleum still preserves some of the oldest mosaics in Rome with geometric patterns and Christological allegories, such as scenes of grape harvesting and vine shoots, symbolizing the words of Christ: “I am the vine, and you are the branches.”
Santa Maria in Montesanto
The name derives from the Carmelite order, which originated in Montesanto, a small town in Sicily. Construction began in 1662 under the patronage of Pope Alexander VII and with financial support from Cardinal Girolamo Gastaldi, who was buried in the church. Architect Carlo Fontana supervised the construction under the guidance of Bernini. In honor of the cardinal, his coat of arms can be seen on the building.
Santa Maria in Montesanto is also known as the “Church of the Artists” and in the 1950s became the site of a mass dedicated to artists, initiated by Monsignor Ennio Francia. This special mass, held at noon from the last Sunday in October to June 29, always includes musical accompaniment, with the reader often being an actor.
The sacristy frequently hosts exhibitions and art shows inspired by religious and sacred themes. Based on this tradition, it conducts funeral rites for popular artists and entertainment industry figures.
San Carlo al Corso
Located on the famous Via del Corso, this colossal building pays tribute to two saints closely associated with Milan and Lombardy: Ambrose (c. 340–397) and Carlo Borromeo (1538–1584). The dedication to these saints is reflected on the façade. The façade of San Carlo, completed in 1684, marked the end of construction work, and it is grand and imposing. The artist who created it was Giacinto Brandi.
The striking dome, designed by Pietro da Cortona, was completed in 1668. This dome is visible from various points in the city, such as the Spanish Steps. From the Ara Pacis Augustae along the Tiber River, one can enjoy a panoramic view not only of the dome but also of the choir and the church’s ambulatory.
An outstanding creation is the vast altar in the apse, created by Carlo Maratta between 1685 and 1690. The chapels in San Carlo offer visitors numerous magnificent works of art. In the first chapel on the right is a beautiful 16th-century wooden altar.
The chapel opposite, in the left transept, strikingly resembles the Chapel of the Immaculate Conception but was added much later, in 1929. The third chapel on the left is dedicated to the notable Saint Olaf II of Norway, with an altar depicting Olaf at the moment he defeats the dragon.
By the end of the 20th century, serious structural problems were discovered in the church, posing a risk of collapse, necessitating a thorough restoration.