a certain Innocenzo Cybo (†1640). At the time the walls and the vault were decorated with the extant frescos of Pieter van Lint, Ionic stucco capitals were added to the half-columns of the entrance arch and the burial vault was sealed with a new tomb slab. The three heirs of the Cybo family renounced the patronage right of the chapel on 7 October 1747. It was bought by a new owner, Count Lorenzo Soderini in 1821 and restored in 1825. Soderini replaced the tomb slab, the coats-of-arms above the frescos on the lateral walls and created a new Corinthian aedicule for the crucifix. Description The crucifix The wooden crucifix above the main altar was first mentioned in 1530 as the imago Crucifixi. The origin and authorship of the sculpture is uncertain. Barbara Fabjan assumed that it was produced in the orbit of Matteo Civitali, a Tuscan artist active in the second half of the 15th century. "The face appears to be a sort of coarse and rustic but intensely dramatic replica of the Eucharistic Christ at Lammari, a late work by Civitali executed between 1496 and 1501", she concluded. Fabjan supposed that the statue was commissioned by Teodorina Cybo in a period when Tuscan artistic influences were strong in Rome. The statue became an object of great devotion. Tradition says that St Philip Neri spent a lot of time in front of it in prayer, while Pope Gregory XIII granted privileges to the altar in 1576. The justification for the 1636 restoration of the chapel was "the reverence felt by the whole Roman people" towards the statue, and the entire painted decoration aimed to underscore its importance. The current wooden Corinthian aedicule which frames the statue comes only from the 19th century but a similar structure was most probably created after 1636 because the decoration around the windows takes this into account. The sculpture was made of poplar wood covered in canvas, stuccoed and painted. The crucifix was restored in 1922 when the arms and the feet were replaced, the cross is modern. Frescos The side walls are articulated by painted Corinthian pilasters and the splays of the windows are decorated with monochrome trophies including the instruments of the Passion. The archivolt of the entrance arch is decorated with coffers and rosettes. Two portraits in oval medallions on the sides of the altar represent Innocenzo Cybo and his wife (the