today, covering the entire width of the west wall of the entrance, is likely part of a cycle of Old and New Testament scenes by Cavallini on the north and south nave walls, based on remaining fragments of an Annunciation scene and stories of the life of Jacob. The frescoes were plastered over in a remodeling under Cardinal Francesco Acquaviva in 1724, which included building an enclosed choir, the floor of which cuts off part of the Last Judgement. Rediscovered in 1900, the fresco may be viewed during limited weekday hours for a small 2,50 euro fee paid to the Benedictine nuns who of the church. Luigi Vanvitelli also did a altarpiece, Apparition of the Angel to St. Cecili, and a fresco, Angels Musicians, located in the Chapel of the Relics, just some of his few surviving paintings. The apse has remains of 9th century mosaics depicting the Redeemer with Saints Paul, Cecilia, Paschal I, Peter, Valerian, and Agatha. The ceiling of Cappella dei Ponziani was decorated God the Father with evangelists (1470) by Antonio del Massaro (Antonio da Viterbo or il Pastura). The Cappella delle Reliquie was frescoed and provided with an altarpiece by Luigi Vanvitelli. The nave is frescoed with the Apotheosis of Santa Cecilia (1727) by Sebastiano Conca. The church contains two altarpieces by Guido Reni: Saints Valerian and Cecilia and a Decapitation of Saint Cecilia (1603). Under the ciborium of di Cambio that shelters the main altar, is a glass case enclosing the white marble sculpture of St Cecilia (1600) by the late-Renaissance sculptor Stefano Maderno. A marble slab in the pavement in front of the case, quotes Maderno's sworn statement that he has recorded the body as he saw it when the tomb was opened in 1599. The statue depicts the three axe strokes described in the 5th-century account of her martyrdom. It also underscores the incorruptibility of her cadaver (an attribute of some saints), which miraculously still had congealed blood after centuries. 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. It is striking, because it precedes by decades the similar high-Baroque sculptures by Gian Lorenzo Bernini (for example, his Blessed Ludovica Albertoni) and Melchiorre Cafà (Santa Rosa de Lima). The crypt is decorated in cosmatesque style, and contains the relics of St. Cecilia and