vault clearly states: "PETRUS/VAN LINT/(AN)T(VE)RP(ENSIS)/COLOR(IBU)S/P()R()T()S FEC(IT)/PETR(US) PAUL(US) DREUS/ROM(ANUS) ORNA/MENTA ARCH/ITE(C)T(URAE) DELIN(EAVIT)/AN(NO) SALUT(I)S/[...]", referring to Pieter van Lint (and also Pietro Paolo Drei). The year of the execution is missing due to a lacuna but a very fine preparatory study for the figure of Jonah, preserved in the Fondation Custodia, bears the date of 1637. In spite of the unambiguous painted statement, which was certainly meant as an advertisement for the two masters, the true authorship of the work became obfuscated. Some later Italian descriptions - in 1713, 1725 and 1741 - only speak of a fiammingo artist suggesting that Van Lint's name was not generally known at the time. In 1674 the paintings were erroneously attributed to Luigi Gentile by Filippo Titi and this mistake was often repeated in later literature. Notwithstanding this confusion the frescos of the chapel were created by Pieter van Lint, a little-known Flemish artist who "proved to be a highly educated painter from a visual standpoint, deeply absorbing models of Italian painting, especially that of the Emilian school". The soft chromatic passages and the peaceful landscapes show the influence of Domenichino and Guido Reni. Burial vault The tomb slab is set in the middle of the tiled floor. The Latin inscription states that Count Soderini, a Roman patrician, restored the derelict chapel of the crucifix in 1825. The circular slab with the Soderini coats-of-arms is surrounded by six winged skulls in typical Baroque fashion. Possibly parts of the slab are older than the 18th century. At the entrance of the chapel the solid 15th-century Renaissance marble parapet is decorated with vases, cornucopias and the Cybo symbols. Indulgence tablet Outside the chapel a slab with an inscription on the left pillar informs us about an indulgence granted by Pope Gregory XIII to the chapel in 1576. Mass celebrated at the altar for the dead will free their souls from the Purgatory. The black marble slab is set in a white stone frame decorated with volutes and a winged angel. It is crowned with an arched broken pediment and the coat-of-the-arms of the pope. Gallery References Bibliography Ilaria Miarelli Mariani: La pittura, in Santa Maria del Popolo. Storia e restauri, eds. Ilaria Miarelli-Mariani and Maria Richiello, Istituto Poligrafico e Zecca dello Stato, 2009. Cybo-Soderini Rome R. IV Campo Marzio