Madonna enthroned and suckling the Child, flanked by 10 women holding lamps. This image on the façade showing Mary nursing Jesus is an early example of a popular late-medieval and renaissance type of image of the Virgin. The motif itself originated much earlier, with significant seventh-century Coptic examples at Wadi Natrun in Egypt. The façade of the church was restored in 1702 by Carlo Fontana. It is surmounted by a balustrade decorated with the statues of four popes. He replaced the ancient porch with a sloping tiled roof — seen in Falda's view above — with the present classicizing one. The octagonal fountain in the piazza in front of the church (Piazza di Santa Maria in Trastevere), which already appears in a map of 1472, was restored by Fontana. Interior The present nave preserves its original (pre-12th century) basilica plan and stands on the earlier foundations. The 22 granite columns with Ionic and Corinthian capitals that separate the nave from the aisles came from the ruins of the Baths of Caracalla, as did the lintel of the entrance door. When scholarship during the 19th century identified the faces in their carved decoration as Isis, Serapis and Harpocrates, a restoration under Pius IX in 1870 hammered off the offending faces. Domenichino's octagonal ceiling painting, Assumption of the Virgin (1617) fits in the coffered ceiling that he designed. There are a number of 12th and late 13th-century mosaics in the basilica. The "Coronation of the Virgin" (1130–1143) sits atop an apse vault, and depicts Pope Innocent II holding a model of the church. Below are mosaics on the subject of the "Life of the Virgin" by Pietro Cavallini (1291). In the Capella Altemps there is a unique icon of the enthroned Virgin and Child "The Madonna della Clemenza", a panel painting in encaustic, dated between the 6th and 9th century CE, probably of the Byzantine origins. The Madonna della Clemenza is one of the five oldest existing Marian Icons from the medieval period. Its proximity to the rise of Christianity is one of the reasons it was believed to be a divine image. The fifth chapel to the left is the Avila Chapel designed by Antonio Gherardi. This, and his Chapel of S. Cecilia in San Carlo ai Catinari are two of the most architecturally inventive chapels of the late-17th century in Rome. The lower order of the chapel is fairly dark