Pope Paschal reverently deposited her in a crypt beneath the altar of her church in the Trastevere district, simply covering the body with a thin veil of silk.
Nearly eight hundred years after (A.D. 1599), Sfondrati, titular Cardinal of the Church, while carrying out some works of restoration and repair in this ancient Church of S. Cecilia, came upon a large crypt under the high altar. In the crypt were two ancient marble sarcophagi. Responsible witnesses were summoned, and in their presence the sarcophagi were carefully opened. In one of these the body of S. Cecilia lay just as it had been seen eight centuries before by Pope Paschal I—in the same pathetic attitude, robed in gold tissue with the linen cloths blood-stained at her feet.
Every care was taken by the reigning Pope Clement VIII to provide careful witnesses of this strange discovery; among these were the famous scholars Cardinal Baronius and Bosio; the greatest artist of the day, Stefano Maderno, was summoned to view the dead saint and to execute the beautiful marble portrait which now lies in the recess of the Confession beneath the high altar of the well-known church in the Trastevere at Rome. In an inscription, Maderno, the artist, tells how he saw Cecilia lying incorrupt and unchanged in her tomb, and how in the marble he has represented the saint just as he saw her.[1]*
- ↑ The writer of this book simply tells the story as it has been handed down and often repeated. From the clear testimony of the responsible and eminent witnesses above referred to—such men as Baronius, Bosio, and Maderno—there seems little doubt but that they had looked upon the hallowed remains resting as Maderno in his marble portrait has depicted her. De Rossi and others seem to represent the state of the body as though it had been miraculously preserved; the truth probably is that the body of Cecilia had been carefully and skilfully embalmed owing to the loving care of her friends, and laid in the peculiar position in which she breathed her last. The high rank and great wealth of her family, and the usual gentle and humane practice of the Roman Government in the case of those who had been judicially put to death, would bear out this explanation. No expense would have been deemed too great by the powerful family of Cecilia to do honour to her precious remains. Of the enduring "popularity"—to use a commonplace expression—of S. Cecilia, the fact of Cecilia being one of the few chosen female saints daily commemorated in the canon of the Mass, may be fairly adduced. She is classed with Felicitas, Perpetua, Agatha, Lucia, Anastasia, and Agnes. It is often asked why she is looked on as the patroness of music. Nothing
