Palazzo Rosci (or Rossi) now named Bianchini Riccardi dates back to the 16th century. Attributed to Bramante by some, by others to Vignola or Sangallo, it remains for now without " official paternity. It is, however, an important building even if only relative to the prestige of the family, who, while ordering it, decided to establish their residence in piazza del Duomo. In order to proceed with its realisation, as was often the case in the construction of the large family houses of the medieval and renaissance periods, the unification of pre- existing structures was performed. The special construction of the facade of Palazzo Rosci and the Bianchini-Riccardi lies in its curved profile and the large "off-axis" entrance door. Two building particulars, both dictated by the need to use what had aready been built. To adorn the façade the band that marks the main floor, on the facade, is decorated with a series of Angevin lilies, with the Rosci family coat-of-arms, probably a "translation" in Terni dialect of the surname Rossi, a family which probably came from Tuscany.
An architecturally elegant building, it has a peculiarity not to be found in other noble buildings in Terni: the seats reserved for the general public which run along the entire front and which make it typical of a square used as a meeting place or for social contact, similar to that which overlooks the Cathedral. Certainly for its importance and the use made of it by the population, this square was the second most important in the city after Piazza Maggiore (now Piazza della Repubblica). Recently restored, after years of decadence, the Palazzo contains a series of frescos and temperas which depict episodes from " the Liberation of Jerusalem" . The floor of the entrance hall made from large flagstones, bricks and pebbles remains intact.
less respected as centuries went by, the original structure of the garden of which remains, however, a semi- circular backwall with a series of marble butis.
Next to the building, in a kiosk inside a small garden, a picture of the Madonna del Cassero is preserved, the only remaining testimony of a church which once stood in a kind of fort, which, on the banks of the river Nera, defended Porta Romana, the entrance to the city of the consular Flaminia.
After the church had fallen into ruins, the picture of the Madonna, still intact, was placed opposite the Cathedral.