The present one, Gualtiero Bassetti, was appointed in 2014. The entrance block facing onto the Piazza di Santa Cecilia is impressive. This altered the appearance of the basilica much more radically than the 18th century works. The nave is frescoed with the Apotheosis of Santa Cecilia (1727) by Sebastiano Conca. This leaves a historical problem, since she was found in a coffin within a sarcophagus whereas Maderno depicts her lying on her side with her throat slit and with her head wrapped. In conclusion, historically St Cecilia can be taken as a martyr of uncertain date who left a tradition of burial at the Catacombs of Callistus, and an association with the site at Trastevere. Opposite the chapel entrance is a tondo showing The Marriage of SS Cecilia and Valerian by Guido Reni. To see the fresco, you must ring the doorbell to the left of the church's entrance. It was the funerary chapel of the Ponzianica family, to which belonged the husband of St Francesca Romana. As well as his own coat-of-arms, the monument displays that of the House of Plantagenet (which was the English royal family at the time), and this might have been in gratitude. Take your favorite fandoms with you and never miss a beat. The brush-strokes in the multi-coloured angels' wings repay close examination. The centrepiece is a trompe l'oeil depiction of the crypt for which the cardinal was responsible, revealed by an angel drawing back a marble curtain while a statue of the cardinal looks in. The baptistery is clear evidence that there was a church hereabouts by the 5th century. The vault is decorated with a representation of SS Cecilia, Valerian, Stephen, Urban and Laurence, surrounded by vistas and with depictions of hermit saints. (In English.). These angels and the wise virgins are thought not to have been by Arnolfo, but to be of his school. The tympanum of the pediment had a smaller oculus, matching one still to be found at the other end of the church. By the late fifth century, at the Synod of 499 of Pope Symmachus, the church is mentioned as the Titulus Ceciliae. The altar frontal is Cosmatesque in style. On Sundays and Solemnities Mass and Vespers are sung, with Gregorian chants, by the Benedictine nuns (if numbers permit). Santa Cecilia in Trastevere adalah sebuah gereja abad ke-5 di kawasan Trastevere, Roma, Italia, yang didevosikan kepada martir Romawi Santa Cecilia. All … The archaeological excavations under the church revealed much of interest, but nothing Christian that could be traced back to the period of the church's foundation, so there is no help there. Cardinal-Priest of Santa Maria in Trastevere; Luigi Cardinal Caetani † (1622) Cardinal-Priest of Santa Pudenziana; Ludovico Cardinal Ludovisi † (1621) Archbishop of Bologna; Archbishop Galeazzo Sanvitale † (1604) Archbishop Emeritus of Bari (-Canosa) Girolamo Cardinal Bernerio, O.P. The legend states that Cecilia was a young noblewoman who had taken a private vow of virginity before marrying a pagan called Valerian. This surprisingly early date was supported by the famous historian and archaeologist Giovanni Battista de Rossi, who also claimed to have pinpointed the original place of burial in the Catacombs of Callistus. To see the fresco, you must ring the doorbell to the left of the church's entrance. is a 5th century church of Rome, located in the Trastevere rione and devoted to Saint Cecilia.HistoryThe first church of Santa Cecilia was founded probably in the 5th century, by Pope Urban I, and devoted to the Roman martyr Cecilia. Firstly, opening off the second bay of the aisle, is a narrow corridor with two doors on its right. In the 17th century the nuns excavated a burial crypt for themselves, which was the start of the exploration of the ancient remains under the church. Between these apertures are crossed palms and lilies in stucco. The basilica was provided with a colonnaded atrium, which has gone, and in the centre of this was a placed a large ancient stone two-handled vase known as a cantharus (from the Greek κανθαρος). Between the vestibule and main nave is an arcade with four ancient columns, again enclosed in pillars. As well as the entrances to the external chapels, this aisle contains two altars along it and one at the far end. This statue could be conceived as proto-Baroque, since it depicts no idealized moment or person, but a theatric scene, a naturalistic representation of a dead or dying saint.