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[Sites of cultural interest]

  • The restoration and reuse of the sheds of an engineering company led to the realization of the Terni Videocentre. The factory in question was the "Bosco" company, the second most important plant in Terni after the "Terni", located close to Porta Spoletina, adjacent to the medieval city walls. Antonio Bosco, founder if the company, started up his business as blacksmith and manufacturer of agricultural equipment in an old farmhouse at the beginning of the last century. The factory grew rapidly and in 1924 sheds were built that could adequately contain the increasing productive activity which ranged from boilers to the realization of plants for industries. An expansion tha included crossing over the old Flaminia road, which, leaving the city, continued up towards the Somma. It was an interesting area for the presence of historical findings, even though these were no longer available: there, according to ancient chronicles, there once stood a large arch of triumph; in the same place there had been some ancient churches and, more importantly for history lovers, the Three Monuments are said to have stood, namely the cenotaph dedicated to the memory of the Tacitos, the historian Cornelio and his descendents Annio Floriano and Marco Claudio, roman emperors. A factory, the Bosco, which had always struggled with the space at its disposition, until it decided to build a new factory outside the city centre. When, around 1980, the factory was relocated to the Terni-Narni industrial zone, the decision was made to acquire and restore the main buildings so as to make them available to the community for cultural activities retaking and restoring the oldest and most significant part of the factory and promoting in the retaking plan, the approach between the architecture of the early 1900s and postmodern elements. The Videocentre was therefore born as part of a multimedia production system which included the multimedia library and the Papigno film studios. Several television fiction series have been shot in the sheds of the ex Bosco and the triple Oscar award-winning Roberto Benigni film "La vita e' bella" was made there.
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Palazzo Primavera (Spring Building)
[Sites of cultural interest]

  • Today it goes by the name of Palazzo Primavera (Spring Building) and it appears to be a recent construction. Instead, it happens to be a building project carried out on a a complex originally dating back to the 16th century which was realised after the demolition of the pre-existing oratory of the Suffragio used by the confraternity of the same name which hosted the "merchants". In 1548, the confraternity wanted to build a church dedicated to Santa Lucia, protector of merchants, that is to say the farmers and traders who operated in public fairs, on the site of the Oratory. From the start, the church of Santa Lucia experienced complex events as it was often chosen as sleeping quarters for the invading troops passing through on their way to Rome, and the object of enormous damage every time. In 1620 it was assigned to the Jesuits who used the complex as a boarding school or school. It remained a school for centuries, first with the Jesuits, and then as the city grammar school, technical school, and evening school. An event, the opening of the school run by the associates of the Compagnia di Gesù, which satisfied an old aspiration of the city of Terni. Already fifty years before the lettered Orazio Nucola from Terni, who lived in Rome, had interpreted this and had the opportunity, it seems, to talk about it with the founder of the company, Ignazio di Loyola. But it was necessary to sit and wait -replied Loyola- until the Company had a satisfactory number of members. In 1620 the Jesuits finally agreed and also thanks to a fair offer made by the Municipal together with the Monte di Pieta' and to the Confraternity of San Nicandro: three hundred scudi in addition to the wages due to the school teachers, plus the possibility of renting out the rooms of the college, which should have rendered another five hundred scudi. In 1624, therefore, after effectuating the necessary adaptation work, the college of Santa Lucia began to function regularly. Years after the birth of the Regno d'Italia, (the Kingdom of Italy) relocated high school and college, the building hosted the Terni lawcourtsthat remained there from the 1920s for about forty years. Part of the building was occupied by the provincial administrative offices that turned it into the "Palazzo della Sanita'" (Public Health Office) Left in a state of abandonment, during the 1970s and 1980s, it was occupied several times by young people who claimed it as venue for cultural and social purposes, raising a banner on the facade which summarised all their propositions and hopes and renaming it "Palazzo Primavera", a name officially assigned to it when, through a recent public and private building project, a part of the building became the property of the Municipal, which destined it as venue for conferences, meetings and exhibitions.
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"Aurelio De Felice" modern and contemporary art museum (at CAOS)
[Sites of cultural interest]

  • The Aurelio De Feluce museum hosts the works of the sculptor from Terni, exhibitions of contemporary art, but also the works of Orneore Metelli, the naif painter considered one of the most important in the world. It was precisely Aurelio De Felice who discovered and appreciated the works of he who was defined the "cobbler painter", who signed his works with a sketch of a little boot. De Felice was a particularly extroverse artist: the works he frequently gave to the city are collected in the museum (about 800 in all). He attended the Roman School of Mafai, Scipione, Fazzini and then moved abroad: he went to Switzerland and Germany after he had been expelled from theAcademy Of Fine Arts; he had declared that all the academies should be closed because they were practically useless. It was just a short step from Switzerland and Germany to France. In Paris he met Cocteau, Picasso, and other artists among the most famous in the world today. While the works of De Felice, Metelli, and other modern and contemporary artists are on the ground floor of CAOS (Centro Arti Opificio Siri), on the top floor the rest of the collection of the Municipal art gallery can be found, which contains tables, paintings and sculptures which date from the renaissance period up to the 1700s. These are mostly works elaborated by Umbrian artists who count among them high profile personalities in the world wide art panorama. Firstly, Piermatteo d'Amelia one of whose works stands out among the others: la Pala dei Francescani considered the masterpiece of that refined painter who had attracted the attention of art historians world wide who were searching for the then unknown author of another great painting hosted in a museum in Boston. For years he was defined "Master of the Gardner Annunciation" from the name of the museum, then it was discovered that it belonged to the same hand that had painted a country kiosk, that is to say Piermatteo di Amelia who, recorded a document, was paid for that work. Next to Piermatteo, stand il Perugino, Benozzo Gozzoli and a young Raffaello.
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Archeological museum (at CAOS)
[Sites of cultural interest]

  • The archeological museum, at CAOS (Centro Arti Opificio Siri), is divided into two sections: pre-roman and Roman. The former of the two sections is particularly rich and fascinating, also for the fact that many of the findings come from around Terni. First of all, the funeral objects coming from the great necropolis, which stretched from the railway station as far as the site of the steelworks, used during the period that runs from the 10th to the 6th century before Christ. The museum also holds the complete reconstruction of a "bisoma" tomb discovered in the Pentima zone, named "Tomba di Sabina e Serapia" and is certainly unusual for the fact that it is a unique example of a couple being entombed together. From other archeological sites in the Terni district come all those objects which shed a light on the daily life of the Naharki populations, the inhabitants of the Nera area. The Naharkis seem to have been a rather advanced community, and according to some theories, ancestress of Rome which it then founded after having sailed along the Nera and the Tevere (Tiber). These are framed by the objects that came to light during the excavation work carried out in the Piazza Clai area, and in the basement of some ancient city buildings, from the Maratta Bassa and Monte Torre Maggiore sites. Obviously, there is no lack of interesting findings which have been unearthed ar Carsulae, and those from the excavations of the San Valentino necropolis. There are several statues, although some of them are seriously damaged, and the sarcophagus which are often inscribed with scenes of everyday life. Many of these findings belong to the Roman period and give the idea of a city, Interamna Nahars, as being rather wealthy. The "Cippi Carsulani" collection, quite singular burial monuments, which seem typical of the dominant culture, come from Carsulae. They represent, almost in miniature, larger burial monuments of which no other evidence remains and document in some way a certain degree of Greek influence. Among the sculptured stones there is space also for the remains of the foot of a statue, which, considering the size of the fraction remaining, must have been gigantic. Among the findings from the Roman epoch there are numerous epigraphs and stems as well as objects of daily life; all material found by chance during normal maintenance work in various areas of the town centre, from ponte Garibaldi to the Cathedral area, around palazzo Spada etc.
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Secca theatre (at CAOS)
[Sites of cultural interest]

  • One of the workshops of the ex - Siri factory was destined to become the theatre (at CAOS - Centro Arti Opificio Siri). Due also to the legislative complexity of the recovery of a disused industrial area, which foresaw the assignment of part of the area to a private company for the realisation of a shopping centre, that shed had been excluded. It was one if the outbuildings of the shopping centre, but no plans had been drawn up for its reuse. Also because if its position, at the end of the area, towards via Giandimartolo da Vitalone and perpendicular to the long strip built along the same road, which had once housed the apartments of the company managers, then included as residential area in the recovery project and subsequently, following a revision of the same project, as a formative and museum area. This is why that shed was the last tranche of the recovery intervention and reuse of the exSiri. The abundance of space led to the idea of reuse which was actuated through the realisation of an experimental- type theatre. This is how the the present -day theatre Secci was born. The work was begun and completed in 2010 and when it was inaugurated, it was dedicated to the memory of Sergio Secci, a young native of Terni, passionate about theatre, who was killed during the massacre at Bologna station on the 2nd of August 1980, he was 24 years old. He had graduated from Dams in Bologna and that morning had gone to the station to catch a train to Treviglio for an appointment with a theatre group with whom he was going to collaborate for a series of shows. The city of Terni wanted to perpetuate his memory by dedicating to him the new theatre of the Siri complex in a structure that fuses working-class culture ( from which Sergio Secci originated) with all- round art. In a structure belonging to the heritage of industrial archeology state-of-the-art technology can be found. It seats three hundred.
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Museum of paleontology
[Sites of cultural interest]

  • Today, in the deconsecrated church of San Tommaso, the museum of paleontology can be found, which was created above all for didactic reasons and inserted in the Umbrian Paolab, and hosts a series of interesting findings. What stands out among these is the bone structure of a "balena" (whale) a cetacean dating back two million years and found in the Allerona district and ancient inhabitant of the large Tiberino lake that covered the central plains of Umbria. The church of San Tommaso was the patriarchal possession of San Giovanni in Laterano. At the time of free townships it was also the location of the town council meetings.The space existing between the churches of San Tommaso and San Cristoforo was called Camporeale because it belonged to the Camporeale family who arrived in Terni following Federico Barbarossa the members of which were named representatives of the emperor. That widening was once, a leafy garden, rich in spring water, which was used to quench the thirst of all that side of the town. A function now recalled in the fountain "of the hundred spouts" which runs along the side of San Tommaso. The churchyard is remembered in Terni traditions as being the site of an episode, which in the historical memeory of Terni, has acquired the value of the symbol of the struggle against abuse and for freedom. It is said that a blacksmith rebelled against the arrogance of a tax-collector from Narni and instead of paying him the taxes owed, thrashed him to death. Siding with the blacksmith, Liberotto Liberotti, the people rose up against the bullying of the Narnese and Spoletini, who had conquered Terni after the devastation at the hands of Barbarossa's army, and with the support of Foligno and Todi, regained their freedom.
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Diocesan museum
[Sites of cultural interest]

  • The diocesan museum is located in the building next to the Cathedral, commissioned by Cardinal Angelo Rapaccioli, bishop of Terni, as location for the diocese seminary. A building which, as was often the case in the old town of Terni, was built by linking together some small pre-existing houses of medieval origin, some of whose structures such as niches and columns came to light during the most recent restructuring which was carried out to adapt the structure to hold the works of art collected in the Diocese religious locations. Paintings, altarpieces and sacred objects which came from monasteries, churches, oratories and convents spread throughout the diocesan territory which included the territories of Terni, Narni and Amelia. Among them the Circumcisim by Lucio Agresti, a Madonna with Child and saints by the Flemish painter Marten Stellaert and works by numerous painters from Umbria and Lazio among whom Girolamo Troppa and Liborio Coccetti, as well as a Lazurus' Resurrection attributed to the Guercino school. The building, according to Cardinal Rapaccioli's wishes, was completely independent from the rest of the bishopry and from the cathedral church except for a gallery, now closed , which joined the seminary to the church. A building that the Cardinal wanted of a certain artistic validity and which was embellished with a series of frescos, now lost. The diocesan Museum and chapter of Terni ,inaugurated in 2005, it is dedicated to the memory of don Fabio Leonardis, director of the diocese office of cultural heritage, and passionate curator of the project. On an area of four hundred square metres, In five halls that are spread over paintings and sculptures dating from the 15th to the 18th centuries are hosted, harmonized in a rich collection. This includes a vast section dedicated to contemporary artists such as Oliviero Rainaldi, Bruno Ceccobelli, Paolo Borghi, Riccardo Cinalli, Dino Cunsolo, some of whom realised their works in various town churches.
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Verdi theatre
[Sites of cultural interest]

  • The Public Theatre, "architected -wrote the historian Luigi Lanzi in a guide to the city in 1899- by cavalier Luigi Poletti in 1840, conceived when the city had fewer than ten thousand inhabitants, and become much too narrow for a population that has more than tripled". The theatre, named after Giuseppe Verdi, is once again waiting for restoration work to finish and to adapt to new rules and requirements. Precisely in 1840, in fact, was the first stone laid of Terni's public theatre, "in the presence of the distinguished Pontifical Architect of the sacred Apostolic Palaces, Luigi Poletti", whose project was preferred by the Municipal over that of Luigi Santini, from Perugia. The work was finished in 8 years, and so, in August 1849, the theatre was inaugurated with the performance of the melodrama "Saffo". Its name was not yet teatro Verdi, obviously, given that the musician was still very much alive and at the peak of his activities. The new theatre was born on far more ancient foundation of the old Palazzo dei Priori, which then became the location of the "public bakery". In the middle of the nineteenth century the instability of the foundations led to its demolition and the construction of a new building which became a theatre awarding the project to an expert such as Luigi Poletti, who realised one of his best works, with a large external staircase, and an inside decorated with stucco and paintings. The Terni public theatre was one of the first to use electric lighting (it was 1888) produced by the Cassian Bon Valnerina Electric company, and to have an adjoining building which held changing rooms. In 1908 the electrical plant had to be made safer, and more modern, and so at the same time the stage was enlargened. The naming of the theatre after Giuseppe Verdi, who had died seven years before, dates back to then and gave rise to a second inauguration , this time with "Othello. The changing requirements resulted in a series of works and plant remakes, the last of which - the most invasive that completely cancelled the original work by Poletti except for the facade- came as a consequence of the destruction caused by the bombing during the second world war. It was rebuilt in accordance more with the requirements of a cinema than a theatre, until, in recent years, it was shut down waiting for a new, essential restoration which, so far, has involved only the facade.
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Marmore Falls
[Sites of touristic interest]

  • A sight admired by great artists, poets, and writers who made it a fixed stage in the Grand Tour, Marmore Waterfall reaches a height of 165 meters. It is a magnificent hydraulic work carried out during the Roman period, when it was decided to direct the waters of the large swamp created by the Velino river down beneath the mountain ridge, into the Nera. A work that was at the centre of ferocious disputes between the people of Rieti and Terni, the latter who feared their valley would be flooded. After having conquered them, the consul Manio Curio Dentato became fond of the people of Rieti and wanted to rid their land from the swamps, and the only way to do so was to channel the waters that the Velino river took right up to the ravine, by making them drop into the Nera river below. The so-called Curiana quarry was then dug out: this was the third century before Christ. So the Marmore waterfall was born. This way the swamp, surrounded by thick woods considered sacred, in which temples were to be found dedicated to the goddess Velia and other pagan gods, site of sacred and magic rites. The lake remained, on whose shores the residential area by the name of Piediluco developed, that is a residential area born at the foot of a luco, a thick wood considered sacred by the Sabines. Today, it is the main tourist attraction of the Terni basin, counting millions of visitors every year. Singular and suggestive the visual angles that the Waterfall, with its entire park, is able to offer. Footpaths which run along the waterfall and climb up along the mountain ridge; panoramic excursions with expert guides; canoeing and rafting are practised on the stretch of the river Nera rendered impetuous by the falling waters. In an atmosphere that encloses the power of nature, the intelligence of man, the singularity of the landscape, the early history. The area has been inhabited since prehistoric times. Down in the valley, as compared to the waterfall, a hydraulic work which also dates back to Roman times, il Ponte del Toro, recently identified as a means of slowing down the waters of the Velino which flowed into the Nera, in an epoch preceding the realisation of the waterfall, running along a gully that can still be seen today. For centuries, visitors from every corner of Europe have been attracted to the Marmore waterfall, with its thunderous water and foaming waves, especially in the period when it was trendy among intellectuals to travel through Italy on the "Grand Tour", a journey to see and study the beauty of Italy. On the way to Rome, a detour to visit Marmore waterfall, praised by writers and poets (from Byron and Shelley to Goethe), was obligatory, painted by a long list of great and famous artists, stunned by the splendour of the scene. Pope Pio Vll was one of the first to be able to admire it from a specially built observation point, the observatory- named Pio Vl after him- which overlooks the cantilevered fall of the waters and which can be reached through a tunnel carved through the rock. Beautiful scenery, but also symbol of industrial Terni whose appeal for investments and promote city industrialisation was mainly due to the availability of water and low-cost energy. Not by chance was a stilema of the Waterfall the logo of the Terni steelworks for decades.
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Piediluco lake
[Sites of touristic interest]

  • Realised at long last the reclamation of the stagnant waters of what was once the great Velino lake, lake Piediluco was born. A stretch of water of reduced dimensions (just over a 1.5 square kilometres in size) nestled amidst the green and surrounded by ancient hills. An unhealthy area in ancient times, however, it was a place of different human settlements proved by archeological finds. In pre- romanic times Luco was considered a sacred wood, the most important among similar places that sprung up on the outskirts of the marshland. Rites and meetings were held there, and the territory was administered there by the priests of those rites, called Luconi. The inhabitants of the place, who were concentrated towards the top of the mountain around the year 1000, had a fortress to protect them. The Fortress or the castle of Piediluco had been built at least a century before, and was part of the fief of the Arroni. In 1300 however, it exists as part of the Brancaleoni fief. It was in the Xlll century, however, that those who were to become "Piedilucani" began to move from the top of the mountain to beside the lake, which began to develop in the same period. It was Brancaleone who wanted to build the church of San Francesco towards the end of the Xlllth century in the village centre, a village where fishing was the main occupation, soars the church which rises at the crown of a large staircase and when the water rose, used to be partly submerged. It has undergone various and different reconstructions during the centuries: for instance the adjacent convent has been abolished, and in some records the external stairway, along the entire facade, had twenty steps while now there are only sixteen. More successful the intervention on the church portal, which is the work of the sculptor Pier Damiano di Assisi, who depicted the tools used by fishermen and the types of fish that populated the lake at that time. With the downfall of the Brancaleonis, the Castle and fief passed on to Blasco Fernandez, nephew of Cardinal Albornoz, but several lordships exercised power over Piediluco including the Castellis and and Trincis. More recently, Piediluco was an autonomous municipality until 1927 when it was incorporated into the territory of Terni, becoming a hamlet. Today it is a tourist spot, but also an important mainstay in rowing sports. Lake Piediluco is, in fact, a centre of Federazione Canotaggio (Canoeing Federation) and venue for important international competitions.
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Timetables September

Opening of
the Area
Opening of
the Water
Working days 10.00am - 10.00pm from 11.00am to 1.00pm
from 3.00pm to 4.00pm
from 8.00pm to 9.00pm
Saturday and Sunday 9.00am - 10.00pm from 10.00am to 1.00pm
from 3.00pm to 6.00pm
from 8.00pm to 9.00pm

Choose your guided tour

September 2018

Belvedere Inferiore
P.le F. Fatati 6

Belvedere Superiore
Voc. Cascata 30

Tel. 0744 62982
Fax 0744 362231
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