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Palazzo della Provincia (Bazzani)
[Historic buildings]

  • The design for the Palazzo del Governo building (1930) which looks onto viale della Stazione was drafted by Cesare Bazzani. Bazzani, a lover of classical forms, is one of the great architects who shaped the modern look of Terni. It was he who received the assignment to intervene in the points of excellence of the city, before a national competition was proclaimed to prepare an urban project for a Terni, which seemed destined towards a tumultuous expansion. The competition was won by the Lattes-Staderini office and, after fascism and the war, the task fell to Mario Ridolfi. Author of numerous and various "important" works, Bazzani realised the most imposing of his Terni works precisely in Piazza Tacito, the directional heart of the city, on the site destined to hold Provincia and Prefettura offices. The decision to direct the building onto the street that leads to the station, rather than onto the square, redimensions the monumentality of Piazza Tacito, even though there is a composition, constituted by the majestic altana, realised on the corner of the building. Overall, palazzo del Governo reflects all the characteristics of classical architecture, starting from gigantism of its entrances, the staircases (interior and exterior) the order of the floors, with a widespread use of arches. The facade, with ample use of marble, was destined to receive the symbols of the fascist regime, most of which were removed in the middle of the 1940s. They were included in a large parapet conceived as building decoration, which, in the spirit of the designer and the sponsors, with its "monumentality", was supposed to celebrate the recognition of Terni as provincial capital and therefore, at the same time, of its dynamicity as well as its typecasting as the city of steel and energy. A typecasting which would then be completed just a short time later, with the restructuring of piazza Tacito and the Ridolfi and Fagiolo fountain. On piazza Tacito, on the other hand, Cesare Bazzani had already intervened, in order to make it visibly the piazza symbol of the new Terni- with the Manni building, another of the many buildings which have given significance to the relationship between the architect and the city. A city that he has marked with interventions that range from the industrial school in viale Brin, to the Inps building in corso Tacito, to the station forecourt, to the post office building in piazza della Repubblica. Adding to all this, interventions for funeral monuments and private houses among which the Alterocca building in corso Tacito stands out for its singularity.
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Camera di Commercio Palace
[Historic buildings]

  • Built in the middle of the 1930s the chamber of Commerce building is one of the few "public-monumental" works not to be designed by the architect Cesare Bazzani, in a city which wanted to magnify its new status of Province through the construction of locations for the new offices which were consequently established. The newborn Provincial Council for the corporate economy (then Chamber of Commerce) was at first hosted in the Pontecorvi building which overlooked Piazza Tacito (Tacito Square). The project belonged to the engineer Angelo Guazzaroni who tried to apply the concept of modernism, very fashionable at the time and improperly called fascist architecture. A location was required that was the expression of modernism, therefore, but the result did not live up to expectations. A site to erect the building was chosen close to piazza Tacito, where the medieval city walls once stood. A stretch of that wall, which crossed via Cesare Battisti and piazza Tacito, had already been demolished in respect of the choice of the Lattes-Staderini plan, imprinted in modernity and the concept of efficiency and therefore not respectful of the preexisting historical evidence. To make room for the new building, demolition work continued which stretched as far as the area behind the church of San Francesco. There are two facades: one, not the main one, looks onto via Cesare Battista, the other looks onto piazza Tacito. And this is the main façade, which incorporates two eagles, symbol of the period in which it was built and the coats of arms of the four main centres of the province: Terni, Narni, Orvieto, Amelia and has as hallmark a corner tower on which stands a large clock which was supposed to be seen as far away as Piazza Tacito. The tower, the clock and the decentralized portal provoked the intervention of the Terni town council, upon approval of the project. The mayor wrote a letter contesting these “abnormalities” and suggested some modifications. That is, he asked that, on the portal at least some of the architectural motifs should be used which harmonized with the rest of the façade; that the height of the windows should be standardized between the two facades, that the tower should be highered. Suggestions which were all taken into consideration and respected. Characteristic is the sound of the siren that announces noon.
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Bianchini Riccardi Palace
[Historic buildings]

  • 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.
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Gazzoli Palace
[Historic buildings]

  • The Gazzoli property was not insignificant in the 1700s, seeing as it stretched from via Roma as far as the present day via Xl Febbraio. In the year 1700, the estate of the Gazzoli family stretched from Via Roma up to the present day Via Xl febbraio. They were a bourgeois family who ran several businesses, including- together with the Marquis Sciamanna- the Pontifical ironworks across the river Nera. Their financial resources allowed the Gazzoli family to improve their station in such a way that they were able to count among their relatives Cardinal Luigi Gazzoli. He was the Pontifical governor of Citta' di Castello, Ascoli Piceno, Loreto and Ancona until he was awarded the title of Cardinal by Pio Vll. It was Luigi Gazzoli who decided to build the Palazzo using a design by the architect Andrea Vici, by combining in a balanced whole the constructions that insisted on the property. Next to the Palazzo, a family chapel was built, and opposite, the stables, in a semi-circular shaped building whose facade was enriched with a large clock. A fountain was added to the inside courtyard using an ancient sarcophago no longer there. The rooms of the building were enriched with decorations provided by Liborio Coccetti. The use of the building as location for public associations and housing has determined a complete transformation of the structures which had laid abandoned for some years. Around the year 2000, Palazzo Gazzoli underwent restoration and destined to be used as offices while the basement has been transformed into two auditoriums. The Gazzoli property looked out onto via Roma, then one of the main roads in the city, with a structure that had been made particular: it had hosted a convent and had also been one of the first hospital locations in Terni, but they turned it into an arena, a place dedicated to entertainment, maybe inspired in this by the fact that their stables had been erected on the site of the Roman theatre in Terni whose vestiges dated back to the first century A.D. The arena hosted shows and horse circuses. Buffalo Bill's company also performed there when on tour in Europe. In more recent times the Gazzoli Arena has become the Terni Politeama and today is a multiscreen cinema.
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Mazzancolli Palace
[Historic buildings]

  • Palazzo Mazzancolli is considered to be one of the most important examples of medieval architecture in Terni, even if, in fact, it dates back to the beginning of the Renaissance period. It was built towards the middle of the 1400s. The Mazzancolli family wanted a sign of their power, of which they had in abundance. Ludovico Mazzancolli was Bishop of Terni from 1406 to 1458, his brother Ettore was Notary of the town Chamberlain and Prior. Giovanni, one of Ettore's three children, was the most powerful of the family: judge of civil and criminal cases in Marche: curate to Sigismondo Malatesta and Mayor of the city of Rimini: governor of Città di Castello and then Terracina:auditor of Apostolic cases, very close to Pope Pius ll, refined diplomat and unconventional politician. Giovanni wanted the mansion to be erected, built upon the foundations of two existing towers. The family coat of arms was "melted" into the facade: an arm holding a mace leaning on a neck. The work continued for eight years; but in 1458 the building was finished, and in that year exactly, Ludovico died, receiving, in the cathedral of Santa Maria Assunta (now Cathedral of Terni), a funeral worthy of a member of a family, which held in their hands most of the control levers in Terni. The following year, in 1459, the lustre and the power of the Mazzancolli family was recognized by the Pope, who dwelled during a journey to Mantova. The Mazzancolli occupied the building only for about sixty years. Rising to fame rapidly, the family declined just as rapidly. At the beginning of the 1600s they left Terni. The mansion was abandoned for nearly a century then hosted a spinning mill. Subsequently, it hosted the Monte di Pietà pawnshop and,more recently, the Fascist Party and the Police Headquarters. Now, restored, it hosts the State Archives. Every time there was a change in its usage, the building underwent restoration work and subsequent changes. Of particular interest is the small interior courtyard, dominated by an elegant three- tiered porch, the same that might have been what today is a somewhat heavy staircase, which was once part of the first floor first court and was affected by the fact that it was completely demolished and then rebuilt during the reconstruction work of 1926, when the "Mazzancolli" was used by the fascist federation. The works, designed by Gaetano Coppoli were also influenced by the architectural "trends" of the time which can be notednot only by the staircase, but also in other parts of the building.
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Spada Palace
[Historic buildings]

  • The Spada family, public Notaries by profession, became increasingly important throughout the 14th and 15th centuries. It counted members with illustrious backgrounds who had held important roles such as Chamberlain to Chief Prior and Castellan of Colleluna, reaching its height of honour with Michelangelo Spada (1521-1584). In its heyday, he began construction work on Palazzo Spada, which in his intimate, was meant to represent his power, the obstentation of the prestige he had gained in Rome, where he was the "secret servant" of Pope Julius lll who bestowed on him the fiefdoms of Forano and Collescipoli and the title of Count. On the death of Giulio lll, Paolo lV became Pope, after the short papacy of Marcello ll, what seemed perpetual went back to being temporary, indeed, Collescipoli went back to the availability of the church, above all subsequent to the fact that the inhabitants of Collescipoli rebelled. Together with the fief, the Spadas also lost the title of count which, however, was returned to them by pope Clement Xl. This is how the Spadas became Counts of Collalbero, a castle which stands near Perugia. Meanwhile, Michelangelo Spada had retired from public life. The design of Palazzo Spada has been attributed to Antonio Sangallo the Younger. Bought and restored by the Municipal of Terni in 1973, a restoration which has completely eliminated the plaster and which has transformed into the main entrance what was, in fact, the back of the building, from which one entered into a huge fenced garden with countless trees, according to the typical landscaped garden of the 1500sthe building underwent renovation with the removal of the outside plaster with the back of the building becoming the main entrance. The main hall conserves the frescos attributed to the Flemish painter, Karel Van Mander, re-interpreted during the restoration works. In the main halls, some of the episodes of the battle of Lepanto are depicted and the massacre of the Huguenots, which Michelangelo Spada had wanted to illustrate his political vision favourable to counterreform and rooted in a strong opposition to protestantism. Only a few of the frescos in the building date back to the original building. Other painting intetventions were carried out in the periods up to the XlX century, when palazzo Spada became the property of the Massarucci counts. In the XXth century, palazzo Spada hosted the nuns of the Bambin Gesù order and became the prerogative of the bishopric. The entire structure is shaped like a cube, partially transformed followingrestructuring in the XVlll century, with the construction of a system of arches on what was then the posterior and today the main entrance, which connected the two altanes built on the sides of the building. The arches were eventually stopped up in order to obtain extra cubage.
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Carrara Palace
[Historic buildings]

  • A deep mystery surrounds the destiny of the Carrara family, whose memory lives on thanks to the presence of a building that has been strongly "present" in the historical-administrative events of Terni. But nothing is known about the family. It is known that building on their Palazzo was begun in 1378 by Francesco Carrara, and also, that seeing the size of the building, it was a wealthy family, but no sign of priors or notable members of society with this surname are listed in official documents. The Palazzo is located close to the ancient Flaminia road which crossed the city, not far from important places of power, behind the Palazzo dei Priori (which stood where the city theatre is located) and near to the church of San Pietro. A temple whose apse is practically opposite Palazzo Carrara, but which was not the Carraras' church, these were the patrons of the old San Giuseppe church, which can be seen today (close to the town market) which they reached by walking along the corridor from the entrance to their building and crossing the garden and vegetable gardens. Rather than just a single Palazzo, in the XVth century, before you stood a building which took the role and the appearance of a separate agglomeration seeing as close to the building where the Carrara family lived, quarters had been built to accommodate the people who worked for them. But how they made their fortune, where they came from and what happened to them remains unknown. The building, of which remains part of the painted plaster under the roof, underwent various remakes in the period that stretched from the 16th to the 18th centuries. Inside frescos by Troppa (Apollo and Dafne) and other arists of the epoch can be admired. This building also suffered severe wartime damage. After the extinction of the Carrara family the Municipal of Terni took over the building which once hosted the Municipal and following that the public library, the city's archeological collection, and the town prison up to a few decades ago. After restoration, the building has now been destined as municipal offices.
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Manassei Palace
[Historic buildings]

  • The peculiarity of Palazzo Manassei lies in a tradition that has more than anything a hint of legend: it is said to have been the result of the combination of several pre-existing ancient buildings which had belonged to the Tacito family, the historian Cornelio and his descendents Appio Claudio and and Annio Floriano, who would later both become Roman emperors. A "rumour" deriving from the fact that while carrying out works in that part of the city, vestiges of the Roman epoch of particular value came to light: several Tiber stones, stones used for decoration and embellishment, great arches, and added to all this, a headless statue, which represented a robed man who- it was vaticinated- might have been Cornelio Tacito. These houses, however, were purchased by one of the most ancientnoble families in Terni, and in the years subsequent to 1420, on the initiative of Cipriano Manassei, the building was erected. The construction work lasted for at least a decade and was finished by Stefano Manassei, at that time mayor of Florence. The Manassei family, originally from France, came to Italy before the year one thousand. They counted among their ancestors mayors of Florence, Orvieto, Todi: that Barnaba Manassei founder of Monti di Pieta'; captains of the people (Florence again) until under Pope Alessandro Vll, on becoming members of the Roman nobility, the Manasseis obtained feudal rights and vassalage over Collestatte and Torre Orsina. The first feudal lord was Antonio Manassei, who had married Anna Maria Mazzancolli from Terni, who belonged to a rich and noble family. The lords of Collestatte and Torre Orsina did not stay confined in the two small centres of the Terni Valnerina ( Nera Valley) and almost immediately built their house in Terni, (in 1500). From the combination of the pre-existing buildings, an irregular shaped facade was born which, however, was made more homogeneous in the 17th century when the building underwent radical restructuring. At the same time the interior was renovated and various embellishments were added. The Manassei family sold the building to a private company which used it as an "asset" by renting it out (it was a school for several decades as well as the city art museum and "Briccialdi" music school) only to repossess the structure in recent years and, after a further restoration, use it as a private home.
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Palazzina Alterocca
[Historic buildings]

  • Virgilio Alterocca, a name made famous world-wide for its postcards, was a bold entrepreneur as well as enlightened and committed to the emergence of the city of Terni. When he decided, therefore, to erect a building in corso Tacito, the main street of the city, recently built by the Town Hall planning office, he thought of something audacious, which would have an impact, but, could also host some of his business activities. He therefore entrusted the project to the most sought after architect of the time (1901), Cesare Bazzani. So, Bazzani prospected the opportunity to realise a building that combined the classical tendencies dear to the designer, with a number of Liberty elements, in accordance with a fashionable current at that time. The result was the Alterocca building, which linked the offices from which the company administered all its initiatives, among them the bookshop, to the heart of the operative system that controlled the city telephone network, which Alterocca ran. Indeed, the need to host technical structures, ultramodern at that time, provided the designer with the opportunity to insert an extra decorative element, the telephone mast which was realised on the opposite side of the building with respect to Corso Tacito. Bazzani drew inspiration from different Baroque churches in the building of a structure which still had a certain link with an element of modernity, the telephone network, Terni being one of the first cities in Italy to have one. That mast remained active for telephone structures up to the end of the 1980s. Obviously, part of the building was destined for the private home of the Alterocca family. An example of eclectic architecture, the most consistent in Terni, a building created with pillars made of cast iron columns, with numerous windows and floral decorations, containing a further innovation included by Cesare Bazzani who, realizing a structure on the corner of the two streets, designed two different prospective aspects, as if to almost give the impression of being in front of different buildings if looking at it from one street or the other. The outside has been well looked after over the years, while the same cannot be said about the inside, adapted for use by a bank still on the premises today.
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Post Office Palace
[Historic buildings]

  • The area occupied by the ex Post Office building on the main square of Terni, piazza della Repubblica, was once the location of the church of San Giovanni Decollato. A baroque church, with a large dome and a facade rich in friezes, capitals and columns. It was demolished in 1921 and its vestiges transported to the Passeggiata public gardens where they were reused as bases for brick benches, corner columns and park embellishments. The Post Office building was built in its place, completed in 1936,in compliance with the activity of the public office that wished to be present on the main square of all Italian cities. Within the general framework of the realisation of a city with a modern look, the task of planning the Post Office building was entrusted to Cesare Bazzani who had already completed many interventions in Terni. The monumental arches at street level were designed by Bazzani, the classical forms. The building was only partially built. The main facade does not appear to be that which looks out onto the square but the one on the side which opens onto via del Plebiscito. On the back, on the present day piazza San Giovanni Decollato, a brief staircase recalls an apse and is very similar to the basement of a Roman building which recently came to light and still visible in the underground car park built on the site. The building of Palazzo delle Poste was part of restructuring plan for the entire right side of the city's main square, in accordance with the urban planning of 1919. Together with the post office building, a sort of urban gallery was supposed to have been built but this part of the project has never been actuated. The piazza della Republica facade of the post office building is, however, in some way, almost preparatory to the hypothetised gallery, thanks to the large porch whose columns support the two upper levels, planned with wide windows to lighten the appearance. The building was then extended with the posterior apse as well as a cant. The other side of the building, that looking onto via del Plebiscito, presents somewhat different traits, not possessing the "gaps" of the piazza della Republica side, but the"movement" is ensured by a slight advancement of the central part, as well as a casual use of decorations and sculptures. The interior of Palazzo delle Poste presents the monumentualistic and classical traits typical of the works of Cesare Bazzani.
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Timetables March

Opening of
the Area
Opening of
the Water
Working days 10.00am - 6.00pm from 12.00am to 1.00pm
from 3.00pm to 4.00pm
Saturday and Sunday 10.00am - 10.00pm from 11.00am to 1.00pm
from 3.00pm to 6.00pm

Choose your guided tour

March 2018

Belvedere Inferiore
P.le F. Fatati 6

Belvedere Superiore
Voc. Cascata 30

Tel. 0744 62982
Fax 0744 362231
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