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Briganti Palace (Ridolfi)
[Modern architecture buildings]

  • Palazzo Briganti deserves a position of merit in the Terni "marked" by the pencil of Mario Ridolfi and Wolfgang Frankl. The same ones who made ample use of the typical sponge stone of medieval Terni to encase their works, when designing Palazzo Briganti chose a different solution in sign of respect for the nearby church of San Pietro, full of history, which had been built with that particular travertine extracted from the Marmore quarries. At street level, the building, whose design dates back to 1962, takes into consideration the requirements of the client, the owner of a department store. It therefore presents a porch with glass surfaces on three sides. Originally the fixed shop windows did not exist, they were substituted by a series of removable fixtures, which, according to Ridolfi's plan, were to be removed every day when the shop opened. The plan was to repropose, in a contemporary context, the medieval lodges which hosted markets. An originality which was lost with the arrangement of fixed windows, however, in a rearmost position so that, if not the lodge, at least the porch remained . On top of this, the cube-shaped top building. On the higher levels, Ridolfi and Frankl made use of a typical court construction with a gallery, for them an experimental solution, to finish with a floor of covered terraces which recall the shapes used for the old buildings in Terni. With regards to the materials used for the outside coating, having avoided sponge stone, in order to enliven the building, ceramics were used to highlight balconies and windows. On the inside, an admirable elliptical staircase, while for the iron particulars, railings and door handles, Domenico Malagracci, where Palazzo Briganti is concerned, demonstrated his utmost skill of Master blacksmith. Palazzo Briganti is part if a space decisively "marked" by the church of San Pietro, in an approach between ancient and modern which becomes more sfumato if Rudolfi's other building works, which are almost all around the right side of the church of San Pietro, are taken into consideration. In the latter, thanks to the massive use of sponge stone and small red bricks, we witness the reconstruction of a stretch of the old town, which develops from the fusion of the realisation of the buildings rather than the approach between ancient and contemporary.
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Chitarrini Palace (Ridolfi)
[Modern architecture buildings]

  • While designing the rebuilding project of the bombed city, Mario Ridolfi included via Primo Maggio running parallel to Corso Tacito and identified a widening that linked the two streets: Largo Villa Glori. An empty space created by the bombing that the architect wanted to preserve, in memory of the thousand people of Terni who were killed. To the functionality of a pedestrian connectio space, the opportunity of offering a particularly suggestive view which stretched as far as the church of San Francesco was created. It was for this reason that while projecting Palazzo Chitarrini which overlooks largo Villa Glori in 1951, Ridolfi and Frankl paid particular attention so that when looking from a corner of the building it was also possible to see the church in the distance, creating in this way, a new urban axis referring to the old town which had as extreme points the new Palazzo Chittarini and the ancient church dedicated to San Francesco. To create a connection between the new and old buildings, they made use of sponge stone. A large building that occupied a whole side of the square could not present itself as a sole square block. And hence the use of triangular balconies (already used by Ridolfi in Quartiere Italia), and a large band of cement which forms a long series of waves on the facade intended to hold the shop signs. As with the designing of the "Leonardo Da Vinci" junior high school, Mario Ridolfi and Wolfgang Frankl completed that "plan" of a slice of the city which had begun with the planning of Palazzo Chittarini. The school stands close to the church, of which it takes some basic elements (sponge stone) and establishes a further, delicate but striking sign of contact, it highlights the windows by using ceramics, exactly as in the string-courses of the bell tower, and what is more, using the same colours. References to Palazzo Chitarrini are not lacking, with the use of reinforced concrete, neither with the coeval Casa Briganti (1959-1960), realised in corso Vecchio. The Palazzo or "Casa Chitarrini" presents other particularities, such as partially split-level floors, while some secondary elements are of a certain interest such as the railings of the inside staircase, manufactured by Domenico Malagricci, a master blacksmith who constantly collaborated with Ridolfi and Frankl.
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Fountain of Piazza Tacito (Ridolfi)
[Sculptures and monuments]

  • What is today Piazza Tacito was once a widening, an extreme offshoot north of the city of Terni, crossed by its medieval walls. The building of the railway station and the subsequent opening of Corso Tacito turned that widening into a square and future business park. For this reason an architectural competition was launched in 1932. This competition was the occasion of Mario Ridolfi's first impact with Terni. It was his project, designed in tandem with Mario Fagiolo, which won. A substantial square, precisely what was needed. And there it is, divided into four parallelepipeds, enriched by the green of the holm trees, in harmony with the pre-existing buildings, some of which were only built after Terni had become provincial capital. In the centre of the square, not the usual monument to those fallen in war which had been there since 1927, but that which was for years a symbol of the city - A modern fountain, with a great basin, the water tumbling down from a pool above and in the centre a thirty-metre high steel pole. A kind of monument to steel, to industry, to the energy flowing from that water. A monument to the future. Embellished in its essence by the intervention of an artist such as Corrado Cagli who realised the mosaics in the basin, delimited by a low marble wall, an invitation to sit down and enjoy the coolness of the water cascading copiously in a myriad of splashes, on the hot summer days in Terni. At the same time, a clear signal that the square was meant to be a meeting place, which had that symbol reaching up to the sky as catalyst. Cagli realised a series of mosaics which run all around the basin and represent the signs of the zodiac. On several occasions, throughout the years, the fountain in piazza Tacito has been the venue for celebrations, the place to meet, to gather for the most significant events. On other numerous occasions, it has been necessary to carry out interventions of special maintenance for the mosaics damaged by the water continuously pouring on to them and for the hydraulic system.
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Lancia di Luce (Pomodoro)
[Sculptures and monuments]

  • It is known to everyone as Pomodoro’s obelisk, but It is called "Lancia di luce" (Spear of Light) It is the modern symbol of Terni and depicts the evolution of the art foundry of raw iron from the base to the top, which looks like gold. In actual fact it is five blocks of stainless steel. The art of the master founders of Terni has meant that, using various alloys, the stainless steel takes on different colours. A total weight of ninety tons for a work of art thirty metres high; thirteen thousand hours work to realize the project conceived by a sculptor such as Arnaldo Pomodoro whose works have been installed, making them even more beautiful, in cities such as Melbourne, Los Angeles , New York, Rome, San Paolo. It is probably one of the only works by Arnoldo Pomodoro, who had always wanted his works to be cast in bronze, to be built entirely in steel, and today it is the largest work of art in the world to be realised in molten steel. In order to give it its particular colours, different for each one of the blocks, new smelting procedures were experimented, using sand from African mountains and Australian beaches for moulds. Operations made possible thanks to the partilicular experience acquired at the steelworks by some technicians, under the guide of Master Mario Finocchio. The union between a master of modern sculpture and the experience of master shapers, smelters, alloys and metals experts and welders, has contributed to the realization of a work of art that wants to be at the same time witness of Terni's past and its projection towards modernism. Its positioning corresponds to this purpose: the entrance to the city centre which coincides with that Corso del Popolo designed by two masters of contemporary architecture such as Mario Ridolfi and Wolfgang Frankl.
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E-Terni (Maraniello)
[Sculptures and monuments]

  • E-Terni is its name. It is a permanent installation which physically completes a triptych of works that illustrate the city of Terni to whomever, arriving along the motorway network, travels along the avenues that lead into the centre. E-Terni ideally and physically in the centre between Hyperion, the sculpture by Agapito Miniucchi and The Lance of Light (Lancia di Luce) the obelisk, by Arnaldo Pomodoro. The artwork, realised in iron, bronze and steel springs from the artistry of Giuseppe Maraniello, who arrived in Terni immediately after having been awarded the "Guglielmo Marconi " prize for painting, sculpture and electronic art promoted by the University of Bologna. E-Terni stands ideally and physically in the centre between the Agapito Miniucchi sculpture Hyperion and the Lancia di luce (Obelisk) by Arnaldo Pomodoro. Giuseppe Maraniello collaborated closely with Arnaldo Pomodoro and, indeed, they created an artwork together for the cathedral of San Giovanni Evangelista in Milwaukee, in the USA. An artwork consisting of a 24- metre high flagpole , made of corten steel and bronze, which rests on a rectangular- shaped, ten-metre long steel plate. The plate is anchored to the ground on one side only of its four sides, and leaves the ground assuming an oblique position and transmitting a sensation of precariousness which provokes interest and also a fair number of questions from the observer. Other large installations deriving from Maraniello's work are to be found in Milan at the entrance to the Mario Negri Institute, in the Saint Thomas Chapel of Yale University in the USA ( this is a life-size bronze crucifix placed behind the altar). Maraniello's work has to be observed with a certain amount if attention in order to seize some peculiarities: a man diving into an amphora and a jeering mask are suspended from the flagpole. Other "enrichments" are not lacking, such as a stylised centaur fighting its own tail and a golden sphere.
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Hiperion (Miniucchi)
[Sculptures and monuments]

  • It could not be anything but steel for a sculpture that welcomes whomever enters Terni coming from the ring road around Terni. A sculpture immediately accepted by the people of Terni even if by some considered the representation of a dove of peace. Hyperion is instead the name given to the sculpture dated 1981. Hyperion like the Titan, the giant God who self-generated, the imagination of the power, of the solidity and all the other prerogatives which befit a divinity. One of the works of Agapito Miniucchi, a sculptor who comes from the Province of Rieti (Rocca Sinibalda which has collected some works in the museum named after him) and Umbrian by adoption. Hi is self-taught, seeing as he is a medical doctor by profession.As is the titan Hyperion this defines Miniucchi' s work, solid (measuring four by eleven metres), but at the same time agile, realised in a material that is the "soul" of Terni, a special steel (in this specific case corten) and explicit message of the two characteristic features of Terni: technology and industriousness. Positioned in the centre of a large roundabout, at the interchange of two large entrance roads to the city of Terni, it offers the traveller the business card of a city which is modern, dynamic, industrious and technological. It is the first of a tryptich of installations that a traveller meets when entering the city: on travelling along a wide avenue Miniucchi's statue of Hyperion is visible from one roundabout to the next, where Giuseppe Maraniello's E-Terni towers with its twenty-four metres of height, transit point and almost a launching pad towards the third artwork, which has becomeone of the main symbols of the city, the "Spear of Light" by Arnaldo Pomodoro, usually called "L'obelisco". Three works of art that use special materials, the production of which, in contemporary times, represents the town essence used for a varied artistic expression and epitomises in a monolith, the thousand-year history of a place.
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Chiavi musicali (Mattiacci)
[Sculptures and monuments]

  • Defined by some as "The music notes", by others as the transposition in contemporary key of motives inspired by the forms of Roman Baroque. They are, however, the fruit of the artistic mind of Eliseo Mattiacci. Six cement quartz sculptures, positioned in the public gardens in Via Giannelli next to the Passeggiata. he sculptures date back to 1986 and for a long time were used as urban decoration in via Petroni, a side- street leading off from Corso Tacito, in the heart of the Old Town centre of Terni. All in all, it is a typical artwork by Eliseo Mattiacci, who has always tried to avoid conferring a strong sign of monumentality to his sculptures. In order to do this, he has always avoided standing his sculptures on a base. In fact, his six "musical notes" are laid horizontally on the ground. The particularity, though, could be identified in the material used. Eliseo Mattiacci has experimented with several types of materials, each time using either metals or glass. In the Terni sculpture concrete was used. The present collocation in the public gardens seems more appropriate than the original one which was a street in the town centre. Their placing in the public gardens appears to be a better choice. In a leafy area used for footing, or just to relax for a while, those supple structures with curved ends assume an intrinsic beauty, producing the effect of a mutual aesthetic enhancement between the green of the ample lawn and the typical colour of the cement structures. Mattiacci's sculptures become part, therefore, of the daily life and habits of those who frequent the gardens in via Giannelli, so as to be considered natural component of the park itself, used spontaneously and without inhibitions. Artworks that are well lived and appropriated by the local population. Not far from them, it is possible to glimpse other concrete structures, these are not works of art, however. It happens to be the entrance to an anti-air raid shelter which had been erected in that part of the city, against the old medieval walls. At the end of the second world war the digression of the ground was filled with the rubble of the houses in the city centre that had collapsed due to the explosion of the bombs dropped by the "flying fortresses". Just a few years later, the landfill realised with that rubble was removed and the air raid shelter returned to the light.The Terni town council then decided to proceed with its restoration in order to leave a visual sign of memory and at the same time a warning in support of peace.
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Stele (Mastroianni)
[Sculptures and monuments]

  • In 2001, it was the steelworks of Terni which donated the work of Umberto Mastroianni positioned at the junction between corso Tacito and via Angeloni, a widening that opens along the main road. It refers to an artwork that Mastroianni (deceased in 1998) had realized in 1980. "Opera" is the exact name given to the large sculpture by some renamed "Composizione di forme" (Compostion of shapes) Either one of the names, however, leaves the observer to a free interpretation and the opportunity to live the sensation perceived when standing before Mastroianni's artwork.The sculpture is a six-metre high monolith created in Cast Carbon steel( a process which enables the production of highly homogeneous steel) associated with nickel, chromium and copper. On the other hand, Mastroianni distinguishes himself exactly because he was one of the few Italian sculptors, if not the only one, to use all the materials possible for his works, from the "classical" like bronze, marble, stone, iron, wood, but also more precious metals such as gold, silver, steel, but also brass, zinc, lead as well as less "classical" such as cardboard, fabric, and plastic. Not to mention wax and terracotta. His monumental works, often bronze composite structures, are born from a challenge of relationships between volumes, spaces, light, and shadows. Like the thirteen sculptures and polychrome bas-reliefs that Mastroianni donated to the State at the end of the 1980s and which are on show, in a hall dedicated to the sculptor in the Gallery of Modern Art. Therefore the Terni monolith is the product of his original art. It has been positioned at the widening between Corso Tacito and via Angeloni, which is considered an intersection for the city street network of Corso Tacito, and therefore at the end of the 19th century, with that much older one which, coming from the cathedral, went towards Porta Spoletina. Precisely this more ancient street network, close to Mastroianni's sculpture, is called to mind by a double travertine curb inserted into the paving of Corso Tacito which it crosses.
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Le Libertà (Turcato)
[Sculptures and monuments]

  • Seven iron columns, each nine metres high, colourful, brightly painted with industrial type paint. They are "Le libertà" by Giulio Turcato installed in Piediluco in 1989.Turcato is considered one of the most qualified exponents of abstractionism in the field of painting. In this case, it concerns a sculpture, a form of expression that Turcato did not disdain but to which he turned on few occasions. “Le libertà” represents one of his most fascinating works of this genre. In order to fully capture the validity of expression of “Le Libertà”, it might be useful to start from Turcato's own explanation: “Elongated structures pushing upward to try to escape to a space more appropriate to their nature". A "monument" to freedom therefore, which by its own nature is the search for higher values, even among society and interpersonal relationships. Columns reaching for the sky, in a group, representing the desires of each one of them. Separate desires- here are different colours- although called to form a group which, by climbing up to the sky, wants to go beyond the limits and inhibitions of human conventions. Giulio Turcato, the communist painter who was bitterly criticized by Palmiro Togliatti, who remained a communist "as long as he wanted to and had the courage", commented Antonello Trombadori, an intellectual who navigated at the top of the PCI. (Italian Communist Party). A painter and a man who always defended his choice of lay freedom, who participated in futuristic movements and following that, the cubist one,and was formed in the individualistic and festive Post-war atmosphere in Paris, but saw him sided with a precise role. But there was always that concept of freedom to guide his choices and positions, that freedom sought through the admiration of colour, the search for vibrant, new colours: for him that was the joy of art, the colour to add to a dull surface, any type of surface. The fusion of two indissolubily linked concepts, freedom and joyful and festive colours, find synthesis in the "Libertà". A process that occurs in an open space, which itself recalls the sense of freedom and at the same time beauty: the same sentiments suggested by what lake Piediluco offers to the beholde.
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The 12.000 t Press
[Sculptures and monuments]

  • For the "Società delle Fucine" (Forging company), a subsidiary of the "Terni" company, the twelve-thousand-ton press was worth only its weight as scrap iron: one billion one hundred million lira. But for Terni it was part of the town's history, a symbol of labour, of technology, of the commitment of the whole city to its steelworks. The press began to function in 1935 and was "pensioned off" in 1993, after almost sixty years of honourable service. A monumental machine, even on its own. Built by the Davy Brothers Ltd. and by the "Terni", it is 16 meters 89 centimeters high with a base with sides measuring nine meters 53 centimeters and four meters 12 centimeters, for a total weight of 1.751 tons. The availability of the Società delle Fucine and the Municipal of Terni, who actively campaigned, saved the press from being scrapped and melted. The Municipal of Terni, together with other local agencies and private associations assured the rights to the property. A special board, which also included expert industrial archeologists chose the large square opposite the railway station as its location: a business card for those arriving in town. The press was restored according to necessary requirements and completely repainted. Originally grey, the cilour became green in the 1960s. Following that, the yellow side bands were added. The work for its positioning, which was rather complicated, was performed with the help of technicians and specialist companies. The press-monument was inaugurated in 1999. That mighty machine had once been requested by the "Terni" to take the place of the "Grande maglio" (the big hammer) at one time symbol of the town's workforce, one of the largest machine of its kind in the world.
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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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