A small flight of stairs leads up to the Presbytery, in the center of which is the High Altar.
The four vaulting cells in the dome high above the altar, designed by O. Torriani in 1603 and first frescoed by B. Corenzio (17th century) and later by P. Annigoni (1982) portray respectively:
- vision of St. Benedict from the window in the roman tower;
- on the left, St. Benedict indicates the burial place for his sister St. Scolastica;
- on the right, St. Benedict dying is sustained by his monks;
- in the front vaulting cell, Our Lady of the Assumption in heaven between St. John the Baptist and St. Benedict.
Tondos between the tambour windows portray the Founders of the Monastic Orders following the Benedictine Rule:
- St. Romuald founder of the Camaldolensians,
- St. Sylvester of the Sylvestrians,
- St. Odo of Cluny,
- St. Robert of the Cistercians,
- St. Guglielmo of the Virginians,
- St. Alferio of the Cavensi,
- St. John Gualberto of Vallombrosans,
- St. Bernard Tolomei of Olivetans.
The spandrels below show allegories of the vows taken by the monks:
- Chastity bearing a lamp,
- Stability with an anchor and a column,
- Poverty leaning onto the Cross and dropping the money and
- Obedience in a listening attitude.
On the left side of the Presbytery is the sepulchral monument (1539) of Piero de' Medici, Lorenzo the Magnificent's son and brother to Pope Leo X, who as a Cardinal was the last commendatory Abbot of Montecassino.
Piero, civil governor of the Cassino Domain, drowned in the Garigliano River in 1503 in his flight from te Spanish army, contending with the French for the throne of Naples.
The sepulchral monument was commissioned by Pope Clemens VII: its design is by Antonio da Sangallo, the two statues of St. Peter and St. Paul are by Francesco da Sangallo, whereas the reliefs on the base, featuring episodes from the life of the two Apostles, were sculptured by the Neapolitan Matteo Quaranta (16th century).
Opposite to it is the Chapel of the Pietà: a painting of the Depositum above the altar is attributed to F. Solimena (18th century); to the left, Jesus praying in the Garden is by N. Melanconico (18th century); to the right is an anonymous Flagellation (17th century).
The Chapel on the right of the Presbytery is dedicated to Our Lady of Assumption and it was entirely rebuilt with its original Baroque components. The painting above the altar, the only one saved from destruction (its sketch is at the Museum) is by P. De Matteis (18th century), whereas the Holy Family was painted by G. Marullo (18th century). The Annunciation is also by the Neapolitan School.
High reliefs in marble represent saint Doctors Mariologists of the monastic Order such as
- St. Hildefons of Toledo,
- St. Bruno Abbot of Montecassino and Bishop of Segni,
- St. Anselm of Canterbury,
- St. Pier Damiani,
- St. Bernard
- the Blessed Ermanno Contratto, possibly author of the Salve Regina antiphon.
On the Presbytery wall, we see the sepulchral monument of Guido Fieramosca, brother to the more famous Ettore, commissioned by his wife Isabella Castriota of the Albanese Scandeberg family; the sculptures, especially the deceased's (1536) are by G. Merliano da Nola, as well as the two statues of St. Basil and St. Jerome, whereas the angels frescoed are by S. Ierace (16th century).
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