(Route 3; the Via Flaminia): a huge section of the hill rising up behind the Tempietto was cut away for the road. Description The Tempietto del Clitunno is only 11 m in length. In the apse at the east end of the small nave, one finds extensive remains of some early medieval frescoes depicting the Saviour, and Sts. Peter and Paul, and then above, on the apsidal wall, paintings of two angels in medallions, and at center, a medallion with a Crux Gemmata. Fruiting palm trees once appeared below, on the wall at either side of the apse. These decorations belonged to the phase-two church: the layer of plaster on which the paintings sit was the first to have been applied to hide and decorate the rough rubble masonry of the apsidal wall added in the second-phase of construction. The painting of the Saviour looks very like the famous icon of the Pantocrator from the collection of the Byzantine monastery of St. Catherine in Sinai (q.v. online). The portrait of Peter likewise resembles the early medieval icon of the same apostle at Sinai. Icons of this kind were painted in Rome during the early Middle Ages, for example, in Santa Maria Antiqua, the famous sixth- through ninth-century sanctuary on the Roman Forum. The builders also made parts themselves when none could be found ready-made for reuse, among which are the tympanum reliefs (for the four pediments), each of which displayed a central leaf-covered Christian cross-monogram surrounded by rich acanthus vine scrolls. The Tempietto's builders also cut the Christian Latin inscriptions in ancient Roman block capitals that one sees in the friezes of the porticoes' gables: +SCS DEVS ANGELORVM QVI FECIT RESVRECTIONEM+ from the main west front, still extant +SCS DEVS APOSTOLORVM QVI FECIT REMISSIONEM+ from the south portico, lost +SCS DEVS PROFETARVM QVI FECIT REDEMPTIONEM+ from the north portico, lost The large box made of marble slabs embedded in the Tempietto's rear apse wall, original to the phase-two construction, may have functioned as a tabernacle to house the consecrated eucharist, or it could have been used as a saint's tomb or memoria (reliquary). The box was provided with an aedicular front (the pediment of which survives from phase two, but not the colonnettes, which were set up in 1849). Such tabernacles or reliquaries are common in high medieval contexts, but rare for the early Middle Ages. Not long ago, Valentino