St. HOMOBONUS

S. OMOBONO

Vico Jugario 4

It was built over the pre-existing church S. Salvatore in Portico of the sixth century, in turn built on the ruins of the ancient TEMPLE OF MATER MATUTA 

Rebuilt in 1482 with money from a bequest of Stefano de Satri Baronilis, warden of the nearby hospital of S. Maria in Portico. The tomb of his family is in the church 

Granted in 1575 to the Università dei Sarti (University of the Tailors) who restored it and dedicated it to St. Homobonus Tucenghi from Cremona, who lived in the second half of the twelfth century, protector of clothes collectors 

Other restorations in the years 1767, 1856, 1877, 1942 and 1964

CEILING 

Painting “Virgin Mary between Sts. Homobonus and Anthony” by Cesare Mariani (1826/1901)

3^rd CHAPEL ON THE LEFT

“Tomb of the Satri family” of the fifteenth century, with peculiar iconography of the seventeenth century with Eternal Father, divine tailor, making Adam wear a fur

St. MARY IN MONTICELLI

S. MARIA IN MONTICELLI

Via di S. Maria in Monticelli 28

Maybe built in the seventh century AD over ruins which determined the mound where the church is and from which it took the name monticelli (mounds)

Maybe they were the ruins of a temple in the area of the Circus Flaminius such as the TEMPLE OF NEPTUNE. Filippo Coarelli reckons the Temple of Neptune was actually located in the area of the Manilis' House

In 1089 Pope Urban II (1088/99) transferred here the relics of five martyrs from Palermo

Restored in 1101 for Paschal II (1099/1118)

It was known as Sancta Maria in Monticellis Arenulae de Urbe

1715 transformed for Clement XI Albani (1700/21) by Matteo Sassi (1646/1723) who also designed the FAÇADE with the collaboration of Giuseppe Sardi (1680/1753)

1860 restoration by Francesco Azzurri (1831/1901) for Pius IX Mastai-Ferretti (1846/78) with polychrome marble taken from the columns of the previous church, as they were found embedded in the pillars of the eighteenth-century restoration

Since 1726 it is officiated by the Fathers of the Christian Doctrine

VAULT

“Six heroines of the Old Testament: Esther, Bathsheba, Deborah, Jael, Abighail and Judith” representatives of the main glories of Our Lady, 1860 by Cesare Mariani (1826/1901)

“Highly regarded by the popes, Cesare Mariani began his copious activities under Pius IX in the mid-1800s, and continued until the end of the century under Leo XIII, literally covering of paint vaults, pillars and domes of 13 Roman churches. Appreciated by the House of Savoy, he also contributed to the definition of the image of the emerging unitary Italian state, winning the competition for the first public commission of the new kingdom: the frescoes in the Hall of the Majority, at the current Treasury Palace, where the first ever Council of Ministers Italian met. (...) An artist who played an important role in that particular historical moment of transition between the papal city and the 'Third Rome' (...) His art is defined by critics as 'very flexible', as he knew to adapt it to any client with great ease” (Lauretta Colonnnelli - Corriere della Sera on 3/25/01)

COUNTER FAÇADE

Above the organ “Moses and the Burning Bush” and “Jacob's Dream” by Cesare Mariani

On the choir “St. Cecilia among the angels” by Tommaso Minardi (1787/1871)

To the left of the entrance there is a medieval fragment of a fresco representing perhaps “Paschal II”

FRESCOES ON THE PILLARS

“Evangelists” 1860 by the nineteenth-century painter Ercole Ruspi

1^st CHAPEL ON THE RIGHT

Above the altar “Agony in the Garden” by Odoardo Vicinelli (1683/1755)

On the right wall “Assumption” maybe by Andrea Sacchi (1599/1661)

2^nd CHAPEL ON THE RIGHT

Above the altar “Flagellation” by an anonymous seventeenth-century artist maybe Antonio Carracci (about 1589/1618), son of Annibale

3^rd CHAPEL ON THE RIGHT

Above the altar “S. Ninfa refuses to sacrifice to idols” by G.B. Puccetti (1593/about 1670)

On the left wall “Madonna and Child with martyrs of Palermo” by Etienne Parrocel (1696/1774) formerly on the main altar

AT THE END OF THE RIGHT NAVE - CHAPEL OF JESUS ​​OF NAZARETH

Altarpiece “Jesus Christ” by an unknown seventeenth century artist

This image is famous for a miracle which took place in 1854: apparently the eyes of Jesus in this painting moved

Frescoes of the beginning of the twentieth century by Eugenio Cisterna (1862/1933)

“Tombstone of Gregoria de' Rusticelli” of the fifteenth century

APSE

Fragment of mosaic of the twelfth century with “Head of the Redeemer”

MAIN ALTAR

Relics of the martyrs of Palermo bishop Maximilian, Eustosius, Proculus, Golbodeus and the young girl Ninfa

Above the altar “Presentation of Mary in the Temple” by Alfredo Bea

Walls of the presbytery on the right “Mothers offer their children to Jesus”, on the left “Jesus teaches in the Temple” by Cesare Mancini

AT THE END OF THE LEFT NAVE - CHAPEL OF CESARE DE BUS

Founder of the Congregation of Priests of the Christian Doctrine, exhumed in 1975 when he was beatified

3^rd CHAPEL ON THE LEFT

Above the altar “Preaching of St. John the Baptist” by G.B. Puccetti (1593/about 1670)

Under the altar body of S. Fortunato martyr of the second century

2^nd CHAPEL ON THE LEFT

Above the altar “Wooden Crucifix” traditionally attributed to Pietro de' Cerroni aka Pietro Cavallini (about 1240/about 1325) in front of which it seems St. Bridget used to pray

1^st CHAPEL ON THE LEFT

Above the altar “Flagellation” by the Frenchman Jean Baptiste Van Loo (1684/1745), who studied in Rome with Benedetto Luti

St. MARY IN AQUIRO

S. MARIA IN AQUIRO

Piazza Capranica 72

Ancient foundation maybe in the early fifth century in consequence of the cult of Mary's divine motherhood being sanctioned by the Council of Ephesus in the year 431

The Council of Ephesus considered a heresy the so-called Nestorianism advocated by Patriarch Nestorius of Constantinople, according to which Jesus lived together in two distinct persons, a divine and a human one. According to Nestorius, Mary was only the mother of Jesus as man and not as God

The church is mentioned in the sources for the first time in the year 740 when Gregory III (731/741) had it rebuilt longer and wider. It occupied the area of the central nave of the present church

It was granted in 1540 to the Confraternita degli Orfani (Brotherhood of Orphans)

Rebuilt in the years 1590/1620 by Francesco Capriani aka Francesco da Volterra (1535/94) for Cardinal Antonio Maria Salviati and then, after the death of Francesco da Volterra, by Carlo Maderno (1556/1629) and his collaborator Filippo Breccioli (1574/after 1627)

It was consecrated in 1728

It was built on the site of the BASILICA OF MATIDIA which, with the BASILICA OF MARCIANA (on Via dei Pastini) encompassed the TEMPLE OF MATIDIA in the area of Piazza Capranica

The church's name comes from a noble benefactor named Cyrus (a Cyro, meaning from Ciro)

It is officiated since 1826 by the Somascan Fathers

FAÇADE

Designed by Carlo Maderno and Filippo Breccioli

It was completed in the upper part in 1774 by Pietro Camporese the Elder (1726/81)

INTERIOR

Completely renovated in the years 1861/66 by Luca Carimini (1830/90) and decorated by Cesare Mariani (1826/1901)

VAULT

Decorations in chiaroscuro by Giuseppe Masella

“Evangelists” and “Angels” lunettes with “Stories of the Virgin Mary” and DOME by Cesare Mariani

“The whole decoration of the nave, the vault and the dome is stylistically inspired by the academic purist neo-sixteenth century canon. It is intended to celebrate the theme of the immaculate conception of the Virgin Mary, declared in 1854 a dogma of the Catholic Church” (Costanza Barbieri)

1^st CHAPEL ON THE RIGHT

Renewed in 1866 by Raffaele Francisci

On the altar “Martyrdom of St. Sebastian” by an unknown artist of the early seventeenth century

On the sides “Gravestones of Francesco Rota and Maria Cianchi” patrons of the chapel in neo-Renaissance style

2^nd RIGHT - CHAPEL OF THE CROSS

“Seventeenth-century polychrome wooden Crucifix”

Paintings on the walls and “Glory of St. Jerome Miani” in the vault by Carlo Gavardini from Pesaro

3^rd RIGHT - CHAPEL OF THE ANNUNCIATION or FERRARI

Cycle of “Life of the Virgin Mary” with “Saints” and “Allegorical figures” 1614/17 by the Venetian Carlo Saraceni (1579/1620), carried out with the experimental technique of oil on wall which was favorited by the Venetian painters but which has also affected the preservation of the work

“In the Birth of the Virgin one perceives the mystery of the birth of Mary 'sine macula' (without stain) according to the 'immaculate' movement very strong, especially among people in Rome connected with Spanish people in the early seventeenth century, not recognized theologically, but very much felt in the current devotion.'The architecture so simple, yet complex with light and foreshortening, creates different levels of events, and it seems it is possible to see in the background the interior of a church, an ancient allusion to Mary 'ecclesia' (church)” (Maria Giulia Aurigemma)

RIGHT TRANSEPT - CHAPEL OF St. JOSEPH LABRE

St. Joseph Labre (1748/83) was a Franciscan saint who used to come here to pray. He was beatified in 1860

Paintings from the nineteenth century:

Altarpiece “St. Joseph Labre, Virgin Mary and the Holy Trinity” by Vincenzo Pasqualoni (1819/80)

On the sides “Angels” by Ettore Grandi

Oval and the side walls by Pietro Gagliardi (1809/90)

TO THE LEFT DOOR OF SACRISTY

“Tomb of Niccolò Modetti” 1872 with sculpture by Stefano Galletti (1832/1905), a pupil of Pietro Tenerani

MAIN ALTAR

1866 in polychrome marble with relics of the martyrs Emiliano, Felicissimo and Fortunato

In the aedicula “Virgin Mary and Child with St. Stephen” precious image by an anonymous Roman artist follower of Pietro Cavallini, formerly in the demolished nearby church of S. Stefano del Trullo

LEFT TRANSEPT - CHAPEL OF St. JEROME MIANI

St. Jerome Miani (1486/1537) was the founder of the Somascan Fathers

On the altar “St. Jerome Miani presents the orphans to the Virgin Mary” by Cesare Mariani (1826/1901)

On the sides canvases: on the right “Liberation of St. Jerome Miani” and on the left “Miracle of the Water” by Pietro Gagliardi (1809/90)

“Tomb of the Marquise Nicoletta Puccetti” 1869 by Carlo Chelli (1807/77) from Carrara

“Cenotaph of Maria Belli Modetti” 1874 by Stefano Galletti (1832/1905)

3^rd LEFT - CHAPEL OF OUR LADY OF LOURDES

Friezes and paintings by Domenico D'Alessandro, designed by Salvatore Bianchi (1821/84)

On the sides canvas “Homage to the Immaculate Virgin” and “The Healing of the sick” 1931 by Aurelio Mariani (1863/1939) from Velletri

2^nd LEFT - CHAPEL OF THE PASSION OF CHRIST

Above the altar “Lamentation over the Dead Christ” about 1635 maybe by Mastro Jacomo

On the right “Flagellation” maybe by Gerrit Van Honthorst aka Gherardo Delle Notti (1590/1656)

On the left “Crown of Thorns” about 1635/40 maybe by Trophime Bigot (about 1579/1649)

Vault and lunettes “Five Stories of the Passion of Christ” about 1635 by G.B. Speranza (about 1600/40)

ON THE PIER IN FRONT OF THE CHAPEL

“Tomb of Count Carlo Montecatini, d. 1699” Archbishop of Chalcedon, maybe by Domenico Guidi (1625/1701)

1^st LEFT - CHAPEL OF THE GUARDIAN ANGEL

On the altar “Guardian Angel” 1867 by Ippolito Zapponi

Statues of “St. Peter” and “St. Paul” by Domenico D'Amico

Pio Istituto di S. Maria in Aquiro

Pius Institute of St. Mary in Aquiro

To the right of the church

1591 Filippo Breccioli (1574/after 1627) designed by Carlo Maderno (1556/1629)

It embeds the structure of the ancient TEMPLE OF MATIDIA

FRONT TOWARD THE SQUARE

1840 Pietro Camporese the Younger (1792/1873)

Among the works of art housed in the building:

“Immaculate Conception” about 1585 by G.B. Fiammeri (about 1541/1617)

“Virgin Mary of the Annunciation” and “Angel of the Annunciation”, “Rest on the Flight into Egypt” 1729 and “Crucifixion” all paintings by Placido Costanzi (1702/59)

St. MARY OF SUFFRAGE

S. MARIA DEL SUFFRAGIO

Via Giulia 59

1662/80 Carlo Rainaldi (1611/91) for the Confraternity of Suffrage

“There is a plan dating back to 1662 that demonstrates the existence of an original design for the church with an elliptical layout, which was never executed. (...) The Roman architect experimented then some of the most innovative ideas of the Roman architectural culture of the mid-seventeenth century, but they were rejected by the confraternity in favor of a more traditional scheme. (...) The simplicity of the interior is also reflected on the outside, in one of the simplest façades of Rainaldi's repertoire” (Federica Maria Papi)

Restored in 1868 by Tito Armellini

VAULT

“Coronation of the Virgin”, “Coats of arms of the Archconfraternity of the Banner and of Pius IX” above the arches of the central nave “Heroines of the Old Testament prefiguring the Virgin Mary” 1868 by Cesare Mariani (1826/1901)

LUNETTE IN THE COUNTER FAÇADE

“Two Saints” 1868 by Cesare Mariani

1^st RIGHT - CHAPEL OF THE NATIVITY

Above the altar “Adoration of the Magi”

On the right “Dream of St. Joseph” and on the left “Adoration of the Shepherds” by G.B. Natali (1630/96)

On the right “Funerary memory of the painter Pietro Neri” d. 1678 and on the left “Tomb of the engraver Gaspare Moroni” d. 1678 maybe by Pietro Paolo Naldini (1619/91)

2^nd RIGHT - CHAPEL OF MARIA CONSOLATRIX AFFLICTORUM (Virgin Mary consoling the afflicted)

Designed by Carlo Rainaldi

“Holy image” of the eighteenth century brought from Mexico by the Jesuit Father Ximines

On the right “Jacob's Dream” by Giacinto Calandrucci (1646/1707) a pupil of Carlo Maratta

On the left “Sacrifice of Isaac” by Girolamo Troppa (1630/after 1710)

3^rd RIGHT - MARCACCIONI CHAPEL

1674 G.B. Contini

Altarpiece “Madonna and Child” sixteenth century painting on board

On the right “Adoration of the Magi” and on the left “Birth of Mary” by Giuseppe Chiari (1654/1727), a pupil of Niccolò Berrettoni (a pupil of Carlo Maratta) who had begun the pictorial decoration

MAIN ALTAR

1674 Carlo Rainaldi

Above the altar “Our Lady of Suffrage with souls of the Purgatory” first public commission of Giuseppe Ghezzi (1634/1721)

Lunette frescoes and vault about 1675 “Assumption in Glory” and “The Lord among the angels” by G.B. Beinaschi (1638/88) follower of Lanfranco's Baroque opposed to Maratta's Classicism. Apparently Maratta visited this church and when he saw these paintings he went out without saying a word

“Beinaschi shows a distinct similarity to paintings by Lanfranco. Even if he could not have been for obvious chronological reasons (Lanfranco died, in fact, in the year 1647) a direct student, he was in fact among his most loyal follower. Lanfranco's influence persisted and was even enriched with new ideas during Beinaschi's stay in Naples. (...) He was able to recall the teachings of the art of Lanfranco without being restricted to being a slavish and late imitator, but rather with a certain expressive propriety, sometimes even intelligently expanding on the Correggio's components of Lanfranco's art” (Oreste Ferrari - Dizionario Biografico degli Italiani Treccani)

3^rd LEFT - CHAPEL OF THE CRUCIFIX

“Wooden crucifix” first half of the eighteenth century

On the sides “Gravestones of the Mazzetti family”

2^nd LEFT - CHAPEL OF St. JOSEPH CALASANZ

Altarpiece “St. Joseph Calasanz with the Child” first half of the eighteenth century by an artist of the Roman School

On the sides “Miracle of St. Joseph Calasanz” and “Death of St. Joseph Calasanz” by Sebastiano Ceccarini (1703/83)

1^st LEFT - CHAPEL OF THE Sts. HYACINTH AND CATHERINE OF SIENA

1685 formerly of the Oliva and later of the Armellini family

Above the altar “Virgin Mary and Child with Sts. Catherine of Siena and Hyacinth” by Daniele Seiter (1649/1705)

ORATORY

“Our Lady of the Rosary among the angels and Sts. Joseph and Dominic” by Giuseppe Ghezzi (1634/1721)

Two paintings formerly in the presbytery and moved here in 1868: “Resurrection of Lazarus” and “Daniel in the lions' den” by G.B. Beinaschi

St. LUCY OF THE BANNER

S. LUCIA DEL GONFALONE

Via dei Banchi Vecchi 12

Maybe end of the thirteenth century or beginning of the fourteenth century

In 1486 Pope Innocent VIII Cybo (1484/92) granted it to the Compagnia del Gonfalone (Company of the Banner)

It was rebuilt at the end of the fifteenth century and consecrated in 1511

Restorations in 1605 and in the years 1721/23

It was rebuilt again with a new FAÇADE in the years 1761/67 by Marco David (active in Rome 1754/65) for Cardinal Flavio Chigi

In 1911 it was entrusted to the Missionari Figli del Sacro Cuore Immacolato di Maria Padri or Claretiani (Missionary Sons of the Sacred Heart of Mary or Claretian Fathers)

Also known as S. Lucia della Chiavica (St. Lucy of the Sewage) for the adjacent cloaca (sewer) that used to flow into the Tiber River

INTERIOR

Decorated in the years 1859/66 for the architecture by Francesco Azzurri (1831/1901) and for the paintings by Cesare Mariani (1826/1901)

VAULT

Clearly inspired by the work of Michelangelo's frescoes in the Sistine Chapel:

In the central part “Episodes from the history of the Archconfraternity of the Banner: foundation, approval and charitable activity”, between the windows “Constance, Charity, Charity and Faith”, virtues inspirational for the Archconfraternity executed in the years 1863/67 by Cesare Mariani

COUNTER FAÇADE

Frescoes in the upper part “Deborah” and “Judith”, in the lower part “Architecture” and “Painting” and on the pillars “Tobias” and “Daniel” by Cesare Mariani

“Tobias and Daniel are references to St. Lucy representing respectively the healing of the eyes and the prophetic vision, thus alluding to one of the main reasons for the devotion to St. Lucy: the recovery of sight both physically and spiritually” (Daniele Ferrara)

PILLARS THAT DIVIDED THE CHAPEL

Frescoes on the right “Nehemiah” and “Ezra”, on the left “Zerubbabel” and “Jeremiah” by Cesare Mariani

“These figures of the Old Testament, referring to the issues of slavery and redemption of the Jewish people celebrate the work of the Confraternity. The figures are monumental and show evident similarities to models of Michelangelo and Raphael” (Daniele Ferrara)

1^st RIGHT - CHAPEL OF Sts. THOMAS OF VILLANOVA AND FRANCIS DE SALES

On the altar “Virgin Mary with Sts. Thomas of Villanova and Francis de Sales” 1765 by Salvatore Monosilio (known from 1744/d. 1776) from Messina in Sicily

On the right “Funerary monument of Bishop Nicholas Maria Nicolai” 1833 by Giuseppe De Fabris (1790/1860)

2^nd RIGHT - CHAPEL OF St. LUCY

Statue “St. Lucy” 1861 by Scipione Tadolini (1822/92) in an aedicula in neo-Renaissance style

On the sides frescoes “Chastity” and “Charity” by Cesare Mariani

3^rd RIGHT - CHAPEL OF Sts. PETER AND PAUL

Above the altar “St. Peter and St. Paul on the road of martyrdom” by the Sicilian Mariano Rossi (1731/1807)

“To Neoclassicism, popular when his artistic personality was already well formed and defined, Rossi granted only the choice of subjects of many of his works according to the patterns that this artistic movement considered to be in vogue, but his style of painting was not affected by the new artistic ideas. Indeed, the Neoclassical painting style was underlaid by well-defined laws that impoverished the means of the painter who, concerned exclusively with such laws, would lose sight of the problems of light, color, fresh air and movement, ending up creating cold and abstract compositions immersed in a frozen light” (Antonella Tedesco - www.abitarearoma.net/s-giuseppe-alla-lungara-e-le-opere-di-mariano-rossi)

APSE

Vault of the apse “St. Bonaventure has the vision of the Virgin Mary” by Cesare Mariani (1826/1901)

On the wall of the apse two episodes of the history of the Archconfraternity:

On the left “Giovanni Cerrone appointed prefect of Rome” and on the right “Prisoners freed by the Archconfraternity of the Banner pay homage to Pope Sixtus V Peretti (1585/90)” by Cesare Mariani

“The first episode recalls the role that, according to tradition, the Confraternity had in the peaceful ouster of Luca Savelli (usurper of power in the city during the stay of the Pope in Avignon) and in the appointment on Capitoline Hill of the wise Giovanni Cerrone. The second episode is significant for the importance that the Confraternity had under Sixtus V for the task of freeing the slaves, a subject widely covered on the walls of the nave. Mariani proves to be a skilled painter of history insisting rhetorically on the dramatic effect of the composition, a trend widespread in the artistic culture of the period that finds similarities with the contemporary operas” (Daniel Ferrara)

MAIN ALTAR

1881 Giuseppe Rinaldi

In the central aedicula “Virgin Mary of the Banner” copy maybe made​by Livio Agresti (about 1508/79) of the Madonna Salus Populi Romani in S. Maria Maggiore

In the lunette above “God Eternal Father” by Erminia Pompili Maldura

3rd LEFT - CHAPEL OF St. BONAVENTURE

Above the altar “St. Bonaventure in prayer at the feet of St. Francis of Assisi” 1765 by Giorgio Gaspare von Prenner (1720/66) from Vienna

2nd LEFT - CHAPEL OF THE CROSS

Above the altar “Wooden Crucifix” of the sixteenth century

On the sides frescoes “Our Lady of Sorrows” and “St. John Evangelist” by Paolo Mei (1831/1900) pupil of Cesare Mariani

1st LEFT - CHAPEL OF S. CHARLES BORROMEO AND OF THE BLESSED GREGORIO BARBARIGO

Above the altar “St. Charles Borromeo and the blessed Gregory Barbarigo” by Eugenio Porretti (active in the eighteenth century)

For some years contemporary paintings by various artists have been exhibited in the church

SACRISTY

Marco David (active in Rome 1754/65)

On the altar “Crucifixion” maybe by Ermenegildo Costantini (1731/91)

PALAZZETTO DEL GONFALONE (Small Palace of the Banner)

1650 and rebuilt in the second half of the eighteenth century maybe by Marco David (active in Rome 1754/65)

Now is the seat of the Ufficio per la Giustizia Minorile del Ministero della Giustizia (Office for Juvenile Justice of the Ministry of Justice)

PALACE OF THE MINISTRY OF TREASURE

PALAZZO DEI MINISTERI DEL TESORO E BILANCIO

Via XX Settembre 97

1872/78 Raffaele Canevari (1828/1900)

Formerly known as PALAZZO DEL MINISTERO DELLE FINANZE (Palace of the Ministry of Finance)

FAÇADE ON VIA XX SETTEMBRE di Pietro Costa (1849/1901)

Finished only in 1881 for the identification and cataloging of the archaeological structures that were found, including remains of the Servian Wall and the Porta Collina (Collina Gate)

During the work there were many accidents with some workers dead and seventy injured: this gave the building the nickname of Palazzone delle Disgrazie (The big Palace of Misfortune)

It covers 36,000 m² (8.9 acres) of occupied area

It was the first ministry to be built in Rome as new capital of Italy

“The slowness of the works and the fact that it exceeded largely the budgeted costs were considered a disgrace by the public opinion, which saw in the palace the first and largest architectural work of the new Italian capital. The façade design was carried out by L. Martinori, who also designed the sculptural cycle of large curved gables started in 1876 together with the sculptor Garofoli. F. Pieroni designed the central courtyard with the fountain” (Guido Miano - Dizionario Biografico degli Italiani Treccani)

Frescoes by Domenico Bruschi (1840/1910) and Cecrope Barilli (1839/1911)

YELLOW ROOM

Frescoes by Cesare Mariani (1826/1901)

In this room the first ever Council of the Italian Ministers, to be held in Rome, met

Museo Numismatico della Zecca Italiana

Numismatic Museum of the Italian Mint

On the first floor

It contains about 20,000 works: over 10,000 coins exhibited in thirty-seven showcases, about 7000 medals, objects regarding coinage and models in wax

One room is dedicated to Benedetto Pistrucci (1784/1855) who made 425 models in wax for medals and cameos kept in the museum. He carried out most of his activities in London at the Royal Mint, where he made the gold sterling of which the museum displays the original model

Ninety-six models in wax for papal medals by Giuseppe Bianchi (1808/77) and his son Francesco Bianchi (1842/1918)

Monumento a Silvio Spaventa

Monument to Silvio Spaventa

In Piazza delle Finanze in the garden on the left

1898 Giulio Tadolini (1849/1918)

Silvio Spaventa was minister of finance in the years 1873/76

Monumento a Quintino Sella

Monument to Quintino Sella

In Piazza delle Finanze in the garden on the right

1893 Ettore Ferrari (1845/1929) with allegorical group “Law” and “Genius of Finance”

Quintino Sella was the Finance Minister who achieved a balanced budget at the cost of tax increases, including the tax on flour

He was an experienced mountaineer and founded in 1863 the Club Alpino Italiano (Italian Alpine Club)