The church was probably built in the 4th and 5th century on the ruins of the ancient "Titulus Chrisogonei", under the first Emperor.
It was restored and adorned during the reign of Pope Gregory III, embellished with beautiful paintings of saints and the “Stories of S.Benedict and S. Sylvester” on the right side of the nave, of which little remains today. Of what remains of the apse are the gorgeous decorations and its geometrical designs as well as the beautiful decorations that imitate sumptuous drapes of the 10th century. After the 1st century the church started falling down and it was rebuilt on its ruins by the titular cardimal of the basilica, Giovanni da Crema, in the early 17th century. The massive and rectangular belltower, on the left side of the church, with its double or three mullioned windows, is believed to be of the same century.
In 1626 the architect Giovanni Battista Soria totally rebuilt the church facade and gave it its current aspect. Its entrance is preceded by a big arcade with Doric crowns surmounted by an attic crowned by a triangular gable.
In the centre of the Presbyterian there is a precious tabernacle that covers an ancient high altar of Paonazzetto. Holy relics of S. Crisogono and S. Giacomo are kept in this tabernacle of the 12th century.

The tabernacle is supported by four granite columns. On its Ionic capitals there are some delightful putti that seem to hold up the cornice and crowning dome. A layer of metal flakes cover the dome which ends with a globe and a cross.

In the centre abside, on the drum, you can admire one of the early works of Pietro Cavallini, a great mosaic worker of the end of 200 A.C.

A Madonna with a wide blu mantle, on a gold background, sitting in a regal pose with a child on her knee on a richly decorated throne with small twisting columns. Beside her stands S. Grisogono in his military uniform and S. Giacomo with tunic and mantle. The face of the Madonna, with her big thoughtful eyes, is really expressive. The forms of the figures of the two saints overcome the stiffness of the forms of the Byzantine style because more realistic.