building rose at the site, cut deeply into the slope of the rocky hill rising behind. Not long afterward, this building was expanded at the back (at the east end) by an apse, and at the front (to the west) by an elaborate system of three entry porticoes with columnar screens in the "Roman Corinthian" style. The building ended with four imposing gables, a pediment at the east, and three full aedicular fronts at the north, south, and west. The Tempietto's icon-inspired frescoes decorating its nave's east end provide the best dating the Phase-Two structure. The icons of Christ, Peter, Paul, and the angels are sixth-century Byzantine inventions. The Christ icon came to prominence in early Byzantium when the Heraclian emperors (610-711) held it aloft in military processions claiming to be Christ's own chosen representatives on earth to lead the Christian people to heaven, claiming to be images of Christ. That icon's appearance at the Clitunno shows that the Tempietto's builders knew about these imperial, Byzantine, power displays. If the Phase-Two building dates to the seventh or early eighth century, that is, during the Heraclian period in the Euro-Mediterranean world, or even somewhat later, it must have been built by magnates from nearby Spoleto, capital of the duchy of Spoleto, which was established in central Italy by Longobard invaders from about 590 onward and lasted until the Carolingian conquest of north and central Italy in 774. If magnates from the Longobard duchy of Spoleto built the Tempietto, their use of the Byzantine icons reveals their close study of, and readiness to manipulate an important, visual, Euro-Mediterranean, high culture for their own ends. In the 1730s the aedicular fronts of the north and south porticoes were dismantled and the columns sold. Between 1890 and 1895 those caring for the building replaced the nave floor with terra cotta tiles, set out stone-masonry benches in the nave's northeast and northwest corners, put an altar table in the apse, and built a wide stairway on the north against the remains of the northern entry portico. Sometime between 1930 and 1933 a restorer clumsily re-painted the frescoes in the Tempietto's apse. This was corrected shortly afterward, and in 1985 the frescoes were thoroughly cleaned again. In 2018 the entire nave interior was cleaned and preserved. In the 1950s the site was again much changed by the construction of the highway running directly behind the building