Brochure FR Eng

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Chairman’s IntroductionSolidarity is efficient. Fondazione Roma plays a leading role in the Welfare Community

History of the Fondazione Roma

Palazzo Sciarra The Cardinal’s Library The Mirrors Study

Fondazione Roma’s Art Collection

Fondazione Roma’s Historical Archives

Palazzo Cipolla

Fondazione Roma in the field of HealthFondazione Roma - Hospice-ALS-Alzheimer’s diseaseGrants for HospitalsFondazione Roma in the Pontine District.

A concrete commitment to Health and Scientific Research

Fondazione Roma in the field of Scientific ResearchIRCCS - Fondazione Bietti for ophthalmic researchFondazione Roma for biomedical researchFondazione Roma for socio-economic research

The ‘World Social Summit’Fondazione Roma for socio-economic researchThe need for a “Big Society” in Italy

Fondazione Roma in the field of EducationGrants for SchoolsUniversity and Master’s degree courses

Fondazione Roma in the field of Art and CultureFondazione Roma-Arte-MuseiThe Museo Fondazione Roma The Orchestra Sinfonica di Roma

The Résonnance projectPortraits of Poetry The Theatre

Fondazione Roma pays attention to the Mediterranean RegionFondazione Roma-Mediterraneo

Fondazione Roma and Aid to the UnderprivilegedFondazione Roma-Terzo Settore

Aid for L’Aquila

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Palazzo Sciarra

The Portal


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Italy, together with other advanced nations, must now reconsider the concept and limits of the

welfare system, also by acknowledging the increasing importance of the constitutional principle

of subsidiarity, in both a horizontal and vertical meaning. It appears that the direction to take

should be a transition from a Welfare State to a Welfare Community wherein the State, private

parties and non-profit organizations all provide services, from which citizens may freely choose,

in order to make them efficient and competitive, even in terms of costs.

As much as our frail social security system is still worthy of not being set aside or dismantled, in

the light of the most serious economic crisis in recent history it must be remodelled, updated and

planned in a way that citizens may be directly involved in the management of public resources.

An extensive meditation on this issue lead to the publication of my last book entitled

(The third pillar. Non-profit organisations, driver

of the new welfare system), in which I have elaborated a plan whereby the third sector – that

varied world of associations, foundations, non-governmental organizations, social cooperatives

and firms, voluntary organisations even established as non-profit making organizations for

community work – could indeed be the new member that has the proficiency of ensuring a positive way out of the crisis of the Welfare State. I do believe that this plural universe is actually

the ‘Third Pillar’, which may contribute to the building of a less expensive and more efficient

Welfare Community.

The British Prime Minister, David Cameron, associates this sector with the Big Society project,

a policy that contributed to his election and is now becoming a reality as a result of a trial in four

vanguard areas of Great Britain. This is a highly reformist project and an ambitious change in

culture. Citizens are invited to enter the field, employ their energy and play a leading role in the

community, rather than turning to local or central governments for the solution to theirproblems. The Big Society means that citizens should become aware of their responsibilities and

that local communities, associations, various kinds of foundations, philanthropic institutions,

social enterprises or, in other words, bottom up projects, should have an opportunity to stimulate

innovative solutions to the area’s exigencies. This project is similar to that of the Third Pillar,

anticipated in my book bearing the same title, which envisions many organisations in civil society

playing the leading role. Seen from this perspective, the State would no longer directly provide

and manage services, though it would be in charge of strategic decisions and fundamental projects

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Palazzo Sciarra

The main entrance


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and supervise that the quality standards are met and the principles of universality respected. Inorder to actually accomplish the project for a Welfare Community there are, in my opinion, two

indispensable conditions: a coherent legal context, that enhances and reinforces the principle of

subsidiarity, and the third sector’s agreed and determined effort to overcome its critical state by

improving, for example, organizational management and qualified training of human resources,

avoiding political influence and becoming less dependent on outside funding.

In this context the Fondazione Roma, which I have the honour to Chair, is playing an essential

role. Literally interpreting the spirit of the Reform introduced by Mr Giuliano Amato, the

Foundation has definitely rescinded its tie with the endower bank and has concentrated its energy

in philanthropic activities, thus becoming fully entitled to be included amongst Foundations

established by civil law. An institution with a long and stable tradition, original expression of the

civil society’s independency and spirit of initiative, the Fondazione Roma is the largest foundation

in Italy with a membership and is part of the embryo of a new ruling class that has precise

distinguishing features: whilst having an excellent knowledge of the local area it is also capable

of looking beyond the boundaries and interlinking worldwide.

All the Foundation’s activities aim to support the development of the local area - which includes

the Provinces of Rome, Frosinone and Latina - in strategic sectors such as Health, Scientific

Research, Art and Culture, Education and Aid to the Underprivileged. The Foundation hassuccessfully addressed the changes in the social environment by updating its instruments and

reviewing the operative model that now provides for complex and long-term projects, to be

accomplished alone or with third parties in order to form a network.

This decision was taken on the awareness that the Foundation should no longer merely issue

grants; it should steer applications and promote those talents and projects advocated by the civil

society that may add value to the community.

The ambition to manage the operative model on a broader scale and to become a ‘think tank’ forideas and projects related to the most widespread issues of our times, arose from the Foundation’s

experience in the local area, ability to analyse the problems therein and to plan concrete projects.

Due to its history and roots in the neighbourhood, the Foundation plays a dual role: it is a catalyst

for local development and advocate of social progress and also sets an instructive example for other

non-profit organisations, which may become aware of subsidiarity and increase best practices.


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Anonymous, , XVII century, oil on canvas, 130x85 cmThe Cardinal’s Library


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Some time ago, the Fondazione Roma started to restructure its departments in order to make themost of its functions by creating specialised foundations. This process has already led to the

establishment of several foundations such as the Fondazione Roma Mediterraneo, in 2008, which

fosters socio-economic and cultural development in countries overlooking the , the

Fondazione Roma-Arte-Musei, which operates in the field of art and culture, and the Fondazione

Roma-Terzo Settore, which supports voluntary work, social enterprise and a culture of solidarity.

Again, the main endeavour is to implement targeted concrete projects in order to provide effective

aid and find solutions to the increasing urgencies in the area according to the principles of

subsidiarity.

This highly exacting task is mainly performed in a city such as Rome, which must address

problems common to other large metropolitan areas such as those related to the large flows of

immigrants. Furthermore, Rome is the capital city of Italy, cradle of Western civilization and the

centre of Christianity; it has the Vatican and an impressive archaeological, architectural and

artistic heritage. These considerations have made us feel even more liable to jointly support any

efforts to make the city more welcoming, united, prosperous and efficient. It is therefore for

Rome and the entire home area that our Foundation faces the challenge of being a dynamic

laboratory of ideas and plans, a reliable interlocutor for any party who wishes to contribute to

the above mentioned mission, a ‘centre’ conceived and created to enhance all initiatives, whetherthey come from inside or outside or from private or public institutions, providing they are in

harmony with the ambitious aims that the Foundation wishes to pursue.

We are proudly and realistically certain to have met, in the past, many challenges and that we

shall, in the future, reach new goals by pursuing and accomplishing a concrete and feasibly

sustainable social project.

Professor Emmanuele Francesco Maria EmanueleChairman

Fondazione Roma

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Gaspare Serenario (attributed to), , oil on canvas, 115x90 cmFondazione Roma’s Collection, accession number 7


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The history of the Fondazione Roma dates back to 1539 when, in order to fight usury, PopePaul III issued an Edict establishing the pawn-broking institution ‘Mount of Piety of Rome’.

The mission was perpetuated through a Rescript issued in 1836 by Pope Gregory XVI, in

response to an initiative of worthy citizens, which instituted the savings bank called Cassa di

Risparmio di Roma that incorporated the Mount of Piety in 1937.

The Fondazione Cassa di Risparmio di Roma was established, inheriting the savings bank’s

original social benefit goals, when the bank reform, introduced by Mr Giuliano Amato, was

enacted at the beginning of the nineteen nineties.

In order to underline the new identity arising from the separation of the banking business from

philanthropic activities, in 2007 the Foundation’s name became Fondazione Roma and was fully

entitled to be classified as a foundation established under civil law that acts in the interest of the

community.

Hence, the Fondazione Roma is the last episode in five hundred years of history during which,

whilst pursuing the traditional institutional purposes, it has been transformed and innovated

adapting its projects to the new social and economic context. The Foundation’s planning ability

and successful results demonstrate its enduring commitment to the Eternal City and the wider

local area.

Chaired by Professor Emmanuele F.M. Emanuele, the Fondazione Roma has been restructured

and, in order to answer the considerable urgent situations in the district where it operates - which

includes the City of Rome and the Provinces of Rome, Latina and Frosinone - is now inclined

to accomplish structural projects largely on a stable and long-term basis.

Having abandoned the grant-making model, the Fondazione Roma has gradually preferred to

adopt the operating model and develop an independent planning ability. Since the Foundation’s

activities are closely connected to the local district, it endeavours to exhaustively identify theexigencies therein, as likewise any potential and resources, in order to operate in a way which may

enhance them, stimulate synergies and ensure that citizens become active and more aware that

their involvement is fundamental and indispensable to maintaining balanced and sustainable

social protection. Consistent with the Chairman’s specific suggestion, the strategic decision to

accomplish stable and structured, rather than occasional short-term, projects and to concentrate

resources in the five traditional and more important sectors of Health, Scientific Research, Arts

and Culture, Education and Aid to the Underprivileged - favouring innovative approaches and

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procedures - in partnership with the best non-profit organisations in the district with whompractical solutions to the true needs of the community may be found, proves the Foundation’s

ability to establish a best practice model, that may be replicated and sustained in other contexts,

in order to deliver energy, dignity and added value to the network of organisations which, in

various forms and for various reasons, nurture the district’s dynamic ‘third sector’.

The first Foundation of banking origin to have left the environment, as planned by Giuliano

Amato and Carlo Azeglio Ciampi over twenty years ago, the Fondazione Roma manages its assets

in a prudential way for the purpose of meeting the target of protecting their value and annual

profitability from inflation, thus enabling the Foundation to maintain the trend of increasing

subventions.

Having in-house expert committees, consisting of members with specific proficiency in the

various fields of involvement, the Foundation has, in time, accomplished for the area innovative

and stable projects of great social value: the Hospice established in 1999 when centres for

palliative care in Italy could be counted on one hand and were mainly located in the North;

research on cord blood cells; master’s degree courses and projects in the field of culture such as

the establishment of a private museum which contributes to increase the country’s cultural and

artistic offer. These are merely a few of the many initiatives which, in the course of time, have

helped the Fondazione Roma to build an original identity and acquire the full right to be includedin the sphere of ‘social interaction’ recognized by the Italian Constitution and protected by the

principle of subsidiarity and proactive participation.

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The first page of the list of Membersof the Cassa di Risparmio di Roma Manuscript (1836), part.Document kept in Fondazione Roma’s Historical Archivein Palazzo Sciarra


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The headquarters of Fondazione Roma are situated in the historical building named PalazzoSciarra, which overlooks the Via del Corso in the centre of Rome where some of the most

ancient sacred buildings stood during early Christianity and important patrician mansions were

built as from the XV century.

In the second half of the sixteenth century the Sciarra branch of the Colonna family, who held

the Principality of Carbognano, built the Palace on the site where they owned two separate

buildings called, respectively, the ‘Palazzo imperfetto’ and the ‘Palazzetto’ which in 1610 the

Milanese architect, Flamnio Ponzio, had planned to be joined. In 1641, Orazio Torrioni took

over the direction of the building site and created the noble and austere façade squared with

ashlared angle irons, crowned with cornice on corbel and divided by three orders of windows.

The monumental portal has two fluted columns surmounted by composite capitals on high

plinths, which support the first floor’s balustraded balcony, placed in front of an ashlared arch.

The face of the plinths and the balustrade are enriched with relief-sculptured columns in

remembrance of the prestigious Colonna family from which the Sciarra family descended. Due

to the beauty of the portal, the Palace was included amongst the ‘Four Wonders of Rome’

together with the Borghese (harpsichord), the Farnese cube and the Caetani-Ruspoli

staircase.

During the eighteenth century, Cardinal Prospero Colonna adapted the Palace to the style of the period. The architect and friend of the cardinal, Luigi Vanvitelli, was involved in the

architectural and pictorial renovation and planned the refurbishment. ,

the small picture and the , richly decorated with paintings, are some of the

rooms which were created during the refurbishment, increasing the historical and artistic value

of the Palace. At the end of the nineteenth century, Francesco Settimi attended to the restoration

of the surrounding buildings, extension of the right wing and reconstruction of the courtyard.

The size of the Palace was considerably reduced between 1871 and 1898, when Prince Maffeo

Sciarra commissioned the architect Giulio de Angelis to open the adjacent Via Minghetti and

to build the Quirino theatre and the Sciarra Gallery in the rear of the complex.

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Stefano Du PéracMap of Rome, early XVII century Fondazione Roma Collection,accession number 180


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The Cardinal’s Library is to be found inside a large apartment which Cardinal Prospero Colonna di Sciarra (1707-1765) required to be located on the second floor of the building. Like the

Mirrors Study, to which it communicates through a small hallway, the Library’s original

eighteenth century fittings are still intact. The Cardinal commissioned the works to the architect

Luigi Vanvitelli, his friend and planner of the famous Royal Palace of Caserta built for the

Bourbon kings of Naples. Since this is the only non-religious interior executed by Vanvitelli, it

has a greater historical value.

The architect decided to transform the regular rectangular framework of the seventeenth century

room into a sinuous interior, by creating four corner alcoves and working only on the upper part

of the walls. Thus, a room of sober elegance was created, precious, cosy and in keeping with the

Rococo taste. Stefano Pozzi was appointed to decorate the surfaces. The walls of the room, into

which five doors and two French windows overlooking vicolo Sciarra open, are entirely lined

with white and gold containing seven spacious bookcases surrounded by twelve mirrored

pilasters surmounted by Doric gilt capitals.

Two additional curvilinear mirrors, set in refined gilt frames with French taste motifs, are placed

in the centre of the long sides, whilst a white marble fireplace is situated in the wall near the

Mirrors Study. The room’s rich pictorial programme is performed along two themes, alluding

as much to the prestigious offices held by the Cardinal as to the concept of Time and use as a study. Allegories of , and , which are cardinal and theological virtues and

the predominant subject of the entire decoration, are depicted on the vault, whereas the

allegories of the and the are placed around the lower zone. Personified Signs

of the Zodiac are depicted on the doors of the shelves placed under the pillars.

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Palazzo Sciarra The Cardinal’s Library


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The Mirrors Study, situated inside the apartment of Cardinal Prospero Colonna di Sciarra, wasaccomplished, like the adjacent Cardinal’s Library, by the architect Luigi Vanvitelli. This square

room with a depressed vault was obtained from a pre-existent seventeenth century hall. The

study, which overlooks the former Stables Courtyard, has an extraordinarily luminous and vital

appearance. Due to the preciousness of the materials employed and the refined design of the

fixtures, this room is an example of great decorative elegance characterized by a Rococo sense

of taste and the fashion.

Furnishings such as mirrors, depicted panels and stuccowork are in the style and,

consistent with the eighteenth century fashion, an integrated part of the architecture.

Overlapping genre and styles of furnishings to adapt the former architectural context to new

trends in taste, creates a pleasant eclecticism. The mirrors and porcelains, which decorate the

Study, make the small room appear larger and enhance the splendour of the gilt frames and the

boiserie lining the walls.

Five mirrors, depicted with figurative scenes of and views of , decorate the walls

alternating with the doors in taste, which are also covered with mirrors and decorated

with imaginative exotic themes. A large mirror in the middle of the ceiling shows a playful scene

of flying picking grapes. Decorative elements, which combine classic and exotic motifs,

shells, dragons and depictions of Psyche, are positioned around the bays of the false dome.

The double pillars, leaning against the two facing walls next to the Cardinal’s gallery and

bedroom, have distempered wooden panels decorated with figures of and

in elaborate scales of prospect which replicate the design of the exotic scenes on the

doors. The panels decorating the doors and pillars are inspired by French exoticism and fully

reflect Cardinal Colonna’s taste, which, like that of other of eighteenth century elites, is

susceptible to the fashion.

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Palazzo Sciarra The Mirrors Study


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Palazzo Sciarra The staircase leading to the Private Collection floor. In the background, by Thomas Jones Barker,

Oil on canvas, 103.2 x 173. 4 cm, Fondazione Roma’s Collection, accession number 247


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One of the first projects to have been accomplished by the Chairman, Professor Emanuele, wasto gather together and exhibit the works belonging to the Foundation’s artistic heritage, which in

time had been increased through new accessions made by the Monte di Pietà and the Cassa di

Risparmio di Roma. Deeply convinced that any artistic heritage belonging to public or private

organisations should never be kept secret and accessible to a restricted number of persons, the

Chairman decided to allow the public at large to enjoy, free of charge, this highly valuable artistic

heritage consisting of an original of works that, extensively crossing through the fifteenth

to the twentieth century, covers a long historic and artistic period.

The refurbishment of Palazzo Sciarra, headquarters of the Foundation, was completed in 2010.

This historical building is situated in the centre of the Eternal City and of such splendour as to

have been included amongst the ‘four wonders of Rome’ due to the magnificence of the main

entrance. The second floor of the building has been adapted to house the Collection’s most

important corpus of works deriving from the ancient pawn broking institution, Mount of Piety,

and the savings bank, Cassa di Risparmio di Roma - of which, according to the Italian Law number

218/90 (known as the Amato Law) and the Legislative Degree number 356/90 the Foundation

is the ideal perpetuation – that has been enriched by a perspicacious policy of important accessions

during Professor Emanuele’s term as Chairman.

Some private collections in the City, such as the Galleria Doria Pamphilj or the Galleria Colonna,

which derive from the estates of great Roman families, have been conserved over the centuries by

means of trust agreements undertaken upon inception to avoid any dispersion of the works.Conversely, this Collection may be distinguished for the fortunate and wise series of accessions that

have increased the original heritage, the most recent of which being a prestigious private collection

of one hundred and fifty six Roman paintings and sketches accomplished between the seventeenth

and eighteen century by illustrious artists such as Baciccio, Benefial, Cades, Corvi, Ghezzi,

Gimignani, Lapis, Pozzo, Romanelli, Stanzione, Subleyras, Trevisani and Vignon.

The exhibition is arrayed in eight halls and one gallery in which visitors may admire over two

hundred works of very high artistic and heritage value, starting from the

by Silvestro dall’Aquila. This is a wooden statue that recalls the majestic medieval Madonnas who

sat on thrones in a dignified manner though, at the same time, the artist humanises this solemnfemale figure with the dawning Renaissance old-fashioned garments, which were softer and more

swathing than those previously used. The is another fifteenth century work,

accomplished by Piermatteo d’Amelia, who worked in Rome around the end of that century.

The sixteenth and seventeenth century are appropriately represented by many paintings such as

the unusual oil on leather depicting the in 1538 by Tomasso Dovini, known as

Caravaggino, the by the Arcadian painter and poet Jacopo Diol, which is a very

original version of this topic, and the famous picture by Ciro Ferri .

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One of the halls housing Fondazione Roma’s Art CollectionIn the foreground, the large display case containing the Medals and Coins. The tapestries are hung on the walls.


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Several eighteenth century masterpieces are included in the collection such as the by the Flemish artist who was in love with the Eternal City, Jan Frans

van Bloemen, which proves that landscapes were by no means an inferior genre of painting; the

sumptuous by Pompeo Batoni, a tribute to the

famous Princess, and three views painted by Giovanni Paolo Panini,

, and the

.

The nineteenth century is suitably represented by

by Thomas Jones Barker, which, like a window on the past, shows Via del Corso in times gone

by. This painting is placed at the exhibition entrance in order to show the connection between the

Collection and the city of Rome.

The twentieth century is portrayed through works by the Group of XXV artists of the Roman

Campagna, such as the by Onorato Carlandi and

by Napoleone Parisani besides paintings from the ‘Roman School’ such as

by Alberto Ziveri, by Ferruccio

Ferrazzi, and by Renato Marino Mazzacurati and other

masterpieces such as and by Francesco Trombadori

and the sculpture in bronze by Arnaldo Pomodoro.

Contemporary art, shown to visitors in the gallery of this special permanent Museum, is

represented by a series of works from the exhibition entitled . , which was promoted by Fondazione Roma, organised by

Fondazione Roma Arte-Musei and held in the Palazzo Cipolla galleries during summer 2011.

Some of the works, that witness the great artistic and cultural turmoil in post-war Italy led by

Milan and Rome, such as by Mario Schifano, by Emilio Tadini,

by Enrico Baj, by Tano Festa, by Franco Angeli, by Gianni Dova,

by Roberto Crippa and by Agostino Bonalumi, are now part of the Collection.

The collection of works of art is shown in an innovative direct lighting system, which allows

visitors to capture the beauty of each painting.

This extraordinary selection of works is further enriched by four hundred specimens of theFoundation’s numismatic treasure, composed of approximately 2.500 medals and coins, the most

substantial and impressive part of which is the series of Papal medals starting from Pope Martin

V, born Colonna, to Pope Benedict XVI. The collection reflects six centuries of the history of

Roman Catholic Papacy and, due both to the number and quality of the specimens, may be

considered second only to the Vatican Library’s Medagliere.

Visitors may discover the smallest details on the obverse and reverse of each example by means of

an innovative digital system which, in Italy, is unique in this field of application.

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The hall dedicated to works from the seventeenth century

belonging to the Fondazione Roma Collection


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Fondazione Roma’s Historical Archive


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In 1539 the modern banking system was still on a very distant horizon. When citizens were inneed of money they had to resort to private loaners who charged exorbitant rates of interest.

As prompted by friar minor Giovanni Maltei da Calvi and several Roman aristocrats, Pope Paul

III, born Alessandro Farnese, issued a Papal Bull establishing the pawn broking institution

Mount of Piety ( ) which lent money at very low interest rates and, in some

instances, even with no reimbursement obligation, in order to fight the scourge of usury that

mainly affected the lower classes.

The Mount of Piety performed its charitable role for four centuries until it was incorporated,

in 1937, into the savings bank named Cassa di Risparmio di Roma, established by a Rescript

issued on the 20th June 1836 by Pope Gregory XVI in response to an initiative of Prince

Francesco Borghese, other worthy citizens from the Capital’s upper middle class and aristocracy,

representatives of the Roman Curia and the business and financial sphere, who personally

contributed to the starting capital of the bank. The savings bank was to contribute to the

development of the local economy and, at the end of the financial year, employ its income for

philanthropic and humanitarian purposes. The founders explicitly waivered any claim for profits

arising from the invested monies since these were to be allocated to the purposes they specified.

Consistent with the bank reform introduced by Mr Giuliano Amato, the Cassa di Risparmiodi Roma separated the two core activities: the banking business on one side and the Ente Cassa

di Risparmio di Roma on the other. The latter subsequently became the Fondazione Cassa di

Risparmio di Roma and finally the Fondazione Roma. Therefore the Foundation is the

legitimate heir of the Cassa di Risparmio di Roma and the Monte di Pietà. Yet, at the time of

the separation the Archives belonging the Mount of Piety and the Cassa di Risparmio di Roma

were bestowed to the bank which, following a series of fusions and acquisitions, merged into

the Unicredit group. This was an incomprehensible decision, since the preservation and

enhancement of national cultural and archival heritage for the benefit of the public at large falls

more within the characteristics of foundations than those of banking companies. However, theperseverance of the Chairman of Fondazione Roma, Professor Emmanuele Emanuele, has been

rewarded since, in 2010, the Chairman of Unicredit, Dieter Rampl, agreed to return the two

historical Archives to the Foundation.

The Archives of the Monte di Pietà and the Cassa di Risparmio were placed in the Foundation’s

historical headquarters in Palazzo Sciarra once the refurbishment of the building was completed.

As the Chairman Emanuele promised, they are now open to the public, thus allowing historians,

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Fondazione Roma’s Historical Archive


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investigators and mere devotees to travel back in time through the vicissitudes of Rome and theentire Country.

Unique documents are kept in the archives, starting from the Bull establishing the Mount of

Piety of Rome, issued by Pope Paul III on the 9th September 1539, and the minutes of its first

Congregation, which dates back to the 11th April 1540. By entering these rooms, visitors explore

the history of Rome and Italy: from the Statutes dated 1867 they move to documents proving

the arrival of Cardinal Aurelio Roverella, from 1801 to 1803, who Pope Pius VII appointed as

the ‘Apostolic visitor’.

The Papal State ceased in 1870 and Rome became the Capital of the Kingdom of Italy. The

Archives preserve a decree issued on the 7th January 1871 by Alfonso La Mormora - the King’s

lieutenant for Rome and neighbouring provinces - which appoints a commissioner to the

administration of the pawn broking institution. As far as the fascist period is concerned, visitors

may read a declaration, dated 5th July 1928, made by Benito Mussolini acknowledging the Coat

of Arms of the Mount of Piety and its registration in the heraldic book of non-profit institutions.

The Duce’s signature, together with that of King Vittorio Emanuele III, stands out on another

document, the letters patent dated 22nd October 1936 granting the Cassa di Risparmio the

right of use of the Mount of Piety Coat of Arms. A paper written a few months before theminutes of the Meeting of the Committee of Administration, held on the 20th February 1937,

announcing that the Mount of Piety shall merge into the Cassa di Risparmio di Roma.

Many documents belonging to the Cassa di Risparmio are kept in the archive, starting from the

minutes of the first meeting of the Board of Directors held on the 22nd July 1836. Some records

concern the historical headquarters: account books regarding works executed in Palazzo del

Monte di Pietà, an etching of Palazzo Borghese - which was the original headquarters of the

Cassa di Risparmio - up to the letter, dated 6th April 1867, whereby the architect, Antonio

Cipolla, accepts the assignment to build the savings bank’s new headquarters, Palazzo Cipolla,on via del Corso. This building was also one of the locations in which the neorealist masterpiece

directed by Vittorio de Sica ‘The Bicycle Thief’ was filmed: a thank you letter addressed to the

personnel of the Cassa di Risparmio di Roma and signed by this great director, enriches the

Foundation’s Archive.

One of the most interesting sections is that in which papers concerning capital flows are kept,

such as the Pope Gregory VIII Brief, dated 1st October 1584, entrusting the Mount of Piety to

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administrate Court deposits in excess of five scudi. Some of the institution’s loans were madeabroad, such as that granted in 1745 to James Stuart, claimant to the throne of England, or to

James Louis Sobieski, who sought the crown of Poland, in 1732.

There is no lack of papers revealing curious particulars, such as Francesco Crispi’s ticket and

covering letter, authorising redemption of the sabre and sword which had belonged to Giuseppe

Garibaldi from the Mount of Piety of Rome.

Several records demonstrate the strong connection between the Mount of Piety and the events

which took place in Rome and surrounding district, such as the leaves describing the reclamation

operations against the locust invasion, performed in the estates of the Roman Campagna

between 1729 and 1777, or the coupon certifying that relief had been delivered to the parties

injured by the Tiber River flooding in 1846.

Other papers emphasise the role played by the Mount of Piety during Jubilees, such as a deed

issued by Pope Urban VIII on the 28th July 1624, granting an interest free loan of 3,000 scudi

to the Trinità dei Pellegrini Hospital during the Jubilee in 1625. There are also several works of

art in the Archives, from the Bust in plaster of the founder, Giovanni Maltei da Calvi, to a

copper engraving plate for the image of the Pietà dating back to the XVII century, a vast

numismatic and photographic collection and a precious library in which both ancient volumesand books concerning more recent history published by the Fondazione Roma are kept.

In conclusion, this is one more authentic historical treasure that the Foundation has opened for

the benefit of all the citizens in the local community.

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Fondazione Roma’s Historical ArchiveIn the foregroundthe Rules and Regulations of theCassa di Risparmio di Roma


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Palazzo Cipolla in a period photograph


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A prudential financial management enabled the Fondazione Rome to perform its institutionalactivities, set aside resources for the future and even increase assets. In 2010, the Foundation

purchased the historical Palazzo Cipolla from Unicredit Real Estate, which became the

proprietor in 2007 when it acquired Capitalia, into which the savings bank called Cassa di

Risparmio di Roma had merged in 2002. The headquarters of the Cassa di Risparmio di Roma

had been situated in this building since 1874 when it moved from the original offices in the

sixteenth century Palazzo Borghese, owned by Prince Franceso Borghese.

Palazzo Cipolla was built during the second half of the nineteenth century on the site of the

ancient home of the Roman aristocrat brothers Jacovacci de’ Facceschi, which had been left to

the Saint James hospital in 1600. In 1862 the Cassa di Risparmio, directed by Prince Camillo Aldobrandini, purchased Palazzo Jacovacci from the administration of the hospital for the price

of eighty four thousand scudi. Demolition of Palazzo Jacovacci commenced in 1868 and several

fragments of the Roman arch of Claudius were discovered during the excavation of the

foundations. Under the presidency of Prince Carlo Barberini, Commanding Captain of the

Noble Guard of His Holiness, the solemn opening ceremony of the new Palace, renamed after

the architect Antonio Cipolla, was held on the 29th November 1874. In the book entitled

, published in 1883, David Silvagni said, “The

magnificent Palace designed by the eminent architect Cipolla is undoubtedly the finest new

building in Rome”.

It is reasonable to assert that Palazzo Cipolla, built between 1869 and 1874, is both the last

architectural work in Rome under Pope Pius IX and the first of Rome the capital city.

Antonio Cipolla won the tender to build the Palace in 1864, with a project that combined two

styles and two epochs, the pure fifteenth century Florentine and a general sixteenth century

Roman. As Marcello Piacentini wrote, “Cipolla was the first to attempt to create an Italian style,

inspired, in a fully academic atmosphere, by schemes of the past”. The Architect played a leading

role in the redevelopment of the capital city of Rome: he was appointed vice president of the

Urban Planning Committee and refurbished and built the stables in Palazzo del Quirinale,

which in those years was the Palace of the Kings.

Both the Board Room and the Marble Hall prove that great architectural attention had been

paid to the interiors of the Palace. The decorations were executed by the sculptor Oreste

Garofoli, author of the high-relief in the lunette of the central window on the balcony, and the

artists Natali, Basilli and Bruschi. The latter executed the allegorical painting that dominates the

centre of the ceiling in the Board Room; , with and at the sides.

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In 1933, during the chairmanship of Marquis Carlo Giulio Clavarino, the central public hallwas enlarged, new offices were created on the ground and first floor, a new staircase replaced the

one installed by Antonio Cipolla and new doors on Via del Corso and Via di Montecatini were

built. In 1948, during the chairmanship of Marquis Giuseppe Dalla Chiesa, further works were

executed by the architect Clemente Busiri Vici: the direct access from Via del Corso into the

central hall was opened and the passageway for vehicles on Via di Montecatini was altered,

conferring a more harmonious appearance to the whole building.

Between 1953 and 1955, Busiri Vici completed the works and reclaimed all the basements: the

floor levels were lowered, the central heating and air conditioning plant renewed and a large

vault, known as the caveau, for safe deposit boxes was created.

In 1999, the Museo del Corso, now Museo Fondazione Roma, turned Palazzo Cipolla into a

household name. The exhibition galleries devoted to contemporary art are located on the ground

floor, whereas a Conference Hall, a Reception Hall and other rooms are to be found on the

Piano Nobile.

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Palazzo Cipolla The Hall of Marbles


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In the years between 1997-1998 when, in Italy, there was a lack of interest in topics related topalliative care, the chairman of the Foundation, Professor Emanuele, decided to establish, in

Rome, a Hospice, that is to say a facility which specifically provides medical and spiritual care

into which terminal patients and senior citizens in poor health may be admitted.

At the time, the number of centres for palliative care in Italy could be counted on one hand and

were concentrated in the North. In central Italy, especially Rome, no other institution provided

comprehensive care for patients. Having performed feasibility studies and completed the plans,

the Hospice was opened in 1999. This pioneer facility has been emulated throughout Italy and

- relying on the fundamental involvement of the Circolo San Pietro’s Voluntary Association -

cares for terminal patients and those affected by Amyotrophic Lateral Sclerosis (ALS), either as

in-patients or in their home, whereas individuals with Alzheimer’s disease are treated in its day

centre.

Over two hundred patients are treated daily by physicians, paramedics and other personnel,

free of charge. A multidisciplinary team of doctors, psychologists, nurses, physiotherapists, social

and spiritual assistants ensure overall treatment by easing the physical symptoms, providing

psychological support and humanising the therapeutic effects.

During the first twelve years, eight thousand patients were nursed in the Hospice. Whereas formany years care in the Hospice was funded entirely by the Foundation, an agreement for routine

treatment for cancer patients has now been reached with the Lazio Region’s Health Service.

However, the Foundation still bears the full costs related to additional personnel, physicians,

paramedics, psychologists and other professionals and patients affected by Alzheimer’s disease

and Amyotrophic Lateral Sclerosis (ALS). The joint aim is to maintain a degree of excellence

in the services provided in order ensure that medical assistance is supplemented with a strong

human approach and involvement in patients’ lives.

Pope Benedict XVI visited the Hospice on the 13th

December 2009. His Holiness praisedpalliative care “capable of soothing pain brought about by the disease and helping the infirm to

live with dignity” and accused the “modern society’s way of thinking which tends to reject the

sick and consider them both a weight and problem”.

In 2011, following a review of the Hospice’s operating model, the Foundation decided to

increase the medical assistance already ensured in the facility located in Via Poerio by opening

a Residential Nursing Home into which Alzheimer’s and Amyotrophic Lateral Sclerosis patients

may be admitted.


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Fondazione Roma -

Rome, 13th December 2009, Pope Benedict XVI visits the Foundation’s Hospice. On the right, The Pope with the Chairman, Emmanuele F.M. Emanuele.

Hospice’s personnel assisting terminal patients.


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The patio in the Hospice of the Fondazione Roma Horticulture and floriculture stimulate Alzheimer’s patients’ memory


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With the aim of improving both the quality and the quantity of health services provided tocitizens, in 2007 the Foundation introduced a scheme to support local public, private and

religious non-profit hospitals in the areas of Rome, Frosinone and Latina.

The Foundation’s grants, amounting to twenty million Euro, enabled thirty one healthcare

facilities (ranging from the Local Health Services to General Hospitals) to purchase modern

equipment supporting biomedical technologies in the field of cardiovascular diseases, image

diagnostics and surgery.

The criterion used by the Foundation in allocating the grants was based on the number of beds

available in the respective centre, whereas the type of technological modernisation to be

implemented was agreed upon together with the head of each institution.

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Fondazione Roma -

The innovative robotic surgery system ‘Da Vinci’ in the San Giovanni Addolorata Hospital Complex in Rome

San Filippo Neri Hospital in RomeThe optical coherence tomography

Biomedical campus RomeMammography for stereotactic breast biopsies


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In Latina on the 18

th

December 2009, during a day full of events celebrating the city’s 77

th

Anniversary, including the bestowal of honorary citizenship to the Fondazione Roma in the

person of its Chairman, the Medical and Pharmaceutical Biotechnology Research Centre was

officially opened. With an allocation of three million five hundred thousand Euro, the

Foundation provided the start-up capital for the purchase of furnishings, equipment and

consumables for research laboratories.

The centre, which is mainly concerned with cellular and molecular oncology and regenerative

medicine, was created through a partnership between the Fondazione Roma and the faculty of

Medicine and Pharmacy of the Sapienza University in Rome, that holds degree courses in its

decentralised campus, equipped with research labs, in the Pontine area south of Rome. Due tothe establishment of this centre, the University is now able to work both independently and in

synergy with local pharmaceutical companies, especially in the field of research on cord blood

cells and their therapeutic potential for various ailments such as ictus, diabetes and heart disease.

Having ascertained the lack in Lazio, as in the whole of Central Italy, of facilities for image

diagnostics and integrated laboratories, capable of meeting the demand for specialised services

and becoming an ‘equal’ partner in the domestic and international medical research circuits,

consistent with its well-established relationship with the city of Latina and surrounding area, the

Foundation decided to evaluate the appropriateness of issuing a new and important grant.

Such circumstances led to the project to build a centre for advanced image and Bio-molecular

diagnostics, equipped with a modern unit for image diagnostics and a laboratory for the

investigation of tissues and cells, appropriately sampled in a radiologic context. Due to the high

standards which have been set for professionals, instruments and the organisation, the Centre

aims to become a diagnostic facility of excellence, a catalyst for new lines of research and

professional talent and a domestic (mainly central Italy) and international steady point of

reference for the investigation of haematological/oncological and neurodegenerative diseases

such as Alzheimer’s, Amyotrophic lateral sclerosis and Parkinson’s.

The Fondazione Roma and local authorities, such as the Regione Lazio, the Provincia, the Town

Council and the Health Service in Latina, intend to form a network for the accomplishment

of this centre. Looking towards a future and even wider horizon, the Foundation is outlining

the strategic guidelines for a second phase of this project, which aims to build a genuine Research

Hospital.

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Latina, 18th December 2009. The Chairman receivesthe Foundation’s honorary citizenship

The Medical and Pharmaceutical Biotechnology Research Centreis officially opened

The Chairman, professor Emanuele, visiting the Complex Hospital of Santa Maria Goretti in Latina, during the inaugural ceremony of the Positron Emission Tomography (PET), an advanced technology in the field of oncological diagnostics


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The Fondazione Roma issued its first structural grant for the benefit of Scientific Research inthe specialised field of ophthalmology. The Foundation supports the Fondazione G.B. Bietti for

ophthalmic Research, a Scientific Institute for Research, Hospitalisation and Treatment, of

which it has been a founder member since 1999.

Established in 1984, this non-profit institute has been formally recognised by the President of

the Italian Republic and was named after the illustrious ophthalmologist, investigator and

clinician of worldwide fame, who passed away in 1977. The Fondazione G. B. Bietti, which has

been working in this field for over twenty-five years, promotes ophthalmologic research and

care, paying special attention to the disclosure of scientific results, prevention, early diagnosis,

therapy and rehabilitation. Fondazione Roma’s contribution enabled the Bietti Foundation topurchase the building located in Via Livenza 3 – Rome in 2000 and the indispensable

equipment for its specialist practice in the years between 2001 and 2005.

The activities performed in this centre mainly focus on those widespread diseases which could

lead to a serious visual impairment such as glaucoma, macular degeneration, myopia and related

complications, disorders of the optic nerve, cornea and eye surface besides ocular oncology. A

most excellent centre in its field, acknowledged in 2005 by the Italian Ministry of Health as a

Scientific Institute for Research, Hospitalisation and Treatment (Research Hospital), this

Foundation fosters clinical and surgical care, teaching and ophthalmologic research.

Professional training and analyses on the organisation of health facilities are also part of the

research performed by this Foundation, which, in time, has received prestigious international

acknowledgments becoming a leader in exploring new ways to treat various pathologies. The

Foundation’s support enabled the Fondazione G. B. Bietti to equip the laboratories

located in Via Livenza, the Ospedale Britannico San Giovanni Addolorata and the Bio-medical

Campus with new sophisticated instruments of the latest generation.

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Fondazione Roma -

The Headquarters of the Fondazione G. B. Bietti in via Livenza, Rome

The Fondazione G.B. Bietti. A consulting room for Ocular Diagnostics and a research lab in via Livenza


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Fondazione Roma has appropriately classified the field of biomedical research amongst themajor local urgencies. The scant allocation of public funds to Scientific Research is actually one

of the reasons behind the weak economic growth and slow social progress in our country.

In 2008, the Fondazione Roma promoted a quite impressive project, both from the planning

and financial investment point of views, to support biomedical research by allocating a total of

fifteen million Euro to highly qualified research projects, establishing terms of participation

that met the expectations of the local area and institutions operating therein and encouraging

the creation of expert networks. The Foundation issued a call for proposals, aimed at the most

excellent investigators in the faculties of Medicine and Surgery in Rome’s universities, concer-

ning three subject matters: Diabetes mellitus type 2, mechanisms of disease and macro-vascu-

lar complications; Cell Therapy and Regenerative Medicine and Drug design for the treatment

of human infectious diseases.

Whilst the decision to give priority to these three fields of research was taken for purely scien-

tific reasons, it was also based on the requirements of the local and international communities.

This is an important undertaking for the Foundation, due both to the amount of capital allo-

cated to the scheme and the innovative peer review procedure for the selection of the projects.

The global scientific community uses the peer review method in order to select papers thatmeet the standards for publication. Applied to scientific research, this procedure ensures that

the reviewers are anonymous and independent, discourages bias and guarantees that the cho-

sen projects are scientifically the most excellent. In order to apply this method, the Foundation

instituted a Scientific Committee composed of nine internationally recognised high profile in-

vestigators. Each member declared to have no conflict of interest with the Principal Investiga-

tors or the Head of other operative units involved in the projects. The merit evaluations

performed by this committee also include those of three referees from abroad, who do not prac-

tice in Italy and are experts on the subject matter. The selection was strict: of thirty-two pro-

posals, only thirteen have been admitted. Whilst referring to the local area of Lazio, this project,promoted by the Fondazione Roma in the field of biomedical research, will also be of benefit

and contribute to global progress, which is the principal purpose of scientific research.

In consideration of the average level of public resources allocated to research, with this project

Fondazione Roma has become one of the main private institutions to fund research of excellence

in Italy. Even in this sector, other parties may refer to the Foundation’s original and efficient

model when the public’s genuine needs and the Country’s, rather than particular, interests are

the main concern.

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Rome, 17th June 2009. The conference entitled “Fondazione Roma for Biomedical Research” commences. The Foundation’s CEO,Franco Parasassi, with the Minister of Health, Ferruccio Fazio

Exhibition of the thirteen funded projects

Project presentations


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The loss of the ‘protective’ function traditionally performed by Welfare States, means thatindividuals must compete, in a weak position, with the ongoing transformation in the socio-

economic and cultural structures that has disconcerted most of the points of reference on which

the essential perspectives of life are built. This topic has been widely investigated by the

Chairman, Professor Emanuele, in numerous publications, the latest of which being “

(The third pillar. Non-profit organisations, driver

of the new welfare system)”. The decision to organise an international debate on the issue was

based on the conviction that a scientific analysis of the phenomena that mainly affect people

must be performed in order to build a less frightened and more courageous society.

For this purpose, Fondazione Roma - confirming the role that distinguishes it from other

foundations in civil society, arising from the ability to find solutions to many of today’s anxieties

- decided to involve, in the field of socio-economic research, the Fondazione Censis. For over

thirty years, this foundation has performed analyses on the constitutive principles of civil society,

such as the evolution of social and productive structures, innovation, individual and collective

behaviour, business mechanisms and the development of local authorities.

Thus, the Fondazione Roma’s World Social Summit was established under the High Patronage

of the President of the Republic and the Ministry for Foreign Affairs. The purpose of the

Summit is to open a worldwide debate, on the various issues that affect social progress, betweenhigh profile personalities, Nobel Prize laureates, political and religious experts, academics,

investigators, entrepreneurs and representatives of national and international institutions.

The first World Social Summit, entitled “

(Fearless: discussion on how to combat global anguish)”, was held in Rome from the 24th to the

26th September 2008 and laid the basis upon which to work to ensure that future society may

improve its ability to manage fear.

The subject, established by the Chairman, Professor Emanuele, on the basis of the chief Anglo-Saxon universities’ scientific publications on this issue, his invariable involvement in the cultural

debate held in the most important academies in the world and experience gained whilst

travelling to the main capital cities, is in keeping with the importance, in modern societies, of

fear arising from the greater amount of risks, perceived as threats, such as terrorism, personal

safety and environmental catastrophes and, above all, the uncertainties which ever wider brackets

of the population must face.

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Amonst the summit’s illustrious line-up of speakers were David Altheide (Sociologist specialising in Mass Communication – Arizona State University, USA), Zygmunt Bauman (Sociologist –

Leeds University, Great Britain), Gary S. Becker (Nobel Prize for Economy – University of

Chicago, USA), Robert Castel (Sociologist – École des Hautes en Sciences Sociales, France),

Frank Furedi (Sociologist, journalist – University of Kent, Great Britain), Anthony Giddens

(Sociologist and expert in politics, London School of Economics & House of Lords, GB), James

Hillman (Psychoanalyst and Philosopher, USA), Michel Maffesoli (Sociologist –The Sorbonne

University - Paris V, France), and Suketu Mehta (Author, India).

Fondazione Roma -

World Social Summit. The session “Combatting metropolitan fears” World Social Summit. Zygmunt Bauman’s


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Italy has been paralysed for the past twenty years; it neither grows nor develops coherent policiesin the fields of industry, agriculture, research, finance and culture, and has become withdrawn.

Even before the financial crisis, the country grew less than its western partners, not to mention

the so-called BRICs (Brazil, Russia, India and China) and, in the current cycle, is struggling to

reach an adequate degree of economic expansion. Although personal savings and household

support has prevented the system from imploding, Italy must find a way out of the tunnel, in

order to avoid sliding towards the abyss in which countries such as Greece, Portugal and Ireland

are falling.

There is a way out and that is through the diversified environment of the Third Sector, which

includes the associations, foundations, NGOs, social cooperatives, social enterprises andvoluntary organizations that have been freely established by citizens, even as non-profit

organizations for community work. In other words, the intermediate bodies in civil society

which the Chairman of the Fondazione Roma calls the ‘Third Pillar’, a term he used in the title

of a book published in 2008 ‘ (The Third

Pillar. Non-profit organisations drive the new welfare system)’. The book illustrates the

Professor’s plan to revitalise the social security system which, though it should not be dismantled,

must be reorganised and regenerated by using the new energies in society that, he suggests,

could play a key role in building a , meaning a system entailing opportunities

and responsibilities.

The British Prime Minister, David Cameron, associates this sector with the Big Society project,

a policy that significantly contributed to his election. Across the Channel, social involvement

is not in a very advanced stage, though politicians are most willing to dialogue with the various

institutions belonging to the Third Pillar. In Italy, the situation is quite the reverse: the

foundations for a Big Society already exist within the social fabric and yet the ruling class

obstructs this sector, rather than fully deploying its potential.

Fondazione Roma decided to hold a series of conferences on the subject of the Big Society project - which is so crucial to advanced societies - attended by world-renowned academics,

sociologists, entrepreneurs, politicians and editorialists. Michel Maffessoli, Bill Emmott, Luca

Cordero di Montezemolo, Francesco Rutelli, Giovanni Moro, Giuseppe Cotturri, Mauro

Magatti, Emilio Dalmonte and even Lord Nat Wei, the chief adviser on ‘big society’ to Prime

Minister David Cameron, were amongst the personalities whose contributions enhanced the

debate during the first two conferences organised by the Foundation in November 2010 and

February 2011.

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The Project ‘Welfare 2020’, established in a partnership between the Catholic University of Milan and Fondazione Roma, focuses on the issue of renewing the welfare system through the

involvement of civil society. The project suggests an intervention in the Nation’s social security

system in three phases: collection and analysis of information concerning domestic and

international best practices; institution of training courses to promote an integrated concept of

welfare; establishment of organised territorial centres and opening of several investigational

laboratories for the purpose of creating local prototypes of a welfare community. The intent of

this project is to create an experimental and sustainable welfare model in various social fields.

Fondazione Roma -

Rome, 25th November 2010. The conference “The world crisis and consequences for our country. The need for a Big Society in Italy”To the right, the Chairman, Professor Emmanuele F.M. Emanuele opens the conference


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Having concluded an evaluation process performed by the Foundation’s advisory committeefor ‘Education and Training’, the Fondazione Roma decided to combine these fields and launch

a large project whereby schools were offered a chance to improve the quality of teaching methods

by expanding their technological equipment.

The project started in 2007 with an advertising campaign “

”. Three-hundred and thirteen

State secondary schools in the Lazio Region (221 in the Province of Rome, 47 in Frosinone and

45 in Latina) received a substantial grant for technological modernisation.

Since the Foundation no longer calls for proposals, all the secondary schools in the three

provinces of Lazio were individually invited to submit a project describing their specific

Information Technology requirements and relative form of implementation. Consequently, each

school received a grant ranging between five thousand Euro and one-hundred and twenty

thousand Euro, according to the number of pupils. A total of eighteen million Euro was issued.

The Foundation’s grants enabled schools to equip multimedia classrooms, create language and

IT labs and to purchase mobile multimedia stations, to be moved from one classroom to another

according to need. Special equipment was also acquired for the accomplishment of

projects, such as music education and specific aids and software for disabled students.

Personal computers, printers, video projectors, interactive whiteboards, DVD readers and

various types of software and equipment for technical, linguistic and scientific laboratories were

amongst the most frequently requested equipment.

The Foundation’s commitment to education was subsequently extended to the area’s two-

hundred and sixty seven secondary high schools (190 in Rome, 42 in Frosinone and 35 Latina).

A total of fifteen million Euro was allocated to these schools which, within the first six months

of 2010, purchased advanced technology equipment and created multimedia teaching laboratories.

In order to ensure that educational offerings be improved at all levels of teaching, in the second

half of 2010 the Foundation’s project was extended to the four-hundred and forty one primary

schools in the area (315 in the Province of Rome, 65 in Latina and 61 in Frosinone).

With this latter grant of twelve million Euro issued to primary schools, the total allocation to

state schools at all levels amounted to forty five million Euro.

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Fondazione Roma’s school project. The chemical lab in the ’Istituto IPSIA in Pomezia

Fondazione Roma’s school project. The graphics lab in the Istituto I.P.S.S.C.T. in Frascati


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An illustration of the Foundation’s project for technologicalinnovation depicted by the pupils at the comprehensive

secondary school, Istituto Marco Polo, in Rome


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The Foundation’s commitment to Education includes undergraduate and post graduateuniversity courses by supporting, as established by the Chairman, Professor Emanuele, the most

important universities in Rome that provide integral education according to the traditional

Catholic principles, such as the Pontificia Università Lateranense, Pontifical Gregorian

University, Libera Università Maria Ss. Assunta, Università Europea and St. John’s University.

Subsidised by the Fondazione Roma, in January 2008 the Pontificia Università Lateranense

opened the new course on the ‘Ethics of Taxation’, included in the syllabus for a Master’s degree

in Law. This chair holds a topical and advanced course in Public Finance and Tax Law, which

is unique in Italy. Seminars have been organised and attended by students, lectures from other

universities and professionals in this field.

The Foundation also fosters the Master’s degree course for ‘Experts in Politics and International

Relations’ held in the Libera Università Maria Ss. Assunta (LUMSA). The purpose of this course

is to engage youths in national, international and diplomatic politics and to train professionals

who are capable of meeting the needs of modern society by implementing rational strategies.

The syllabus includes theoretical classes, seminars and workshops, followed by on the job

training in private and public institutions such as Parliament, Central Government offices,

Ministries, political parties’ headquarters, trade unions and international organizations. Subjectsinclude notions and investigation of history, economics, public institutions, political analyses,

media development and even oratory techniques. The members of the academic staff are

national and international university professors, experts and researchers of politics. Visiting

lecturers include personalities from the institutional political environment and representatives

of financial and intermediate organizations in civil society. As from the academic year

2009/2010, the Italian Ministry of Foreign Affairs has recognised this course as suitable training

for the entrance examination for a career in the Diplomatic Corps. Part of the Foundation’s

contribution has been allocated to student scholarships.

In 2010, an agreement was entered into with the Rome Campus of St. John's University

whereby the Foundation shall issue scholarships to students attending the Master’s degree course

in Business Administration held in this University.

By means of grants issued directly by the Fondazione Roma Mediterraneo, the Foundation also

contributes to the two-year Master’s degree course on the Theology of Religions specialising in

Mediterranean Religions and Cultures organised by the Institute for Interdisciplinary Studies

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Fondazione Roma -

of Religions and Cultures in the Pontifical Gregorian University.

The purpose of this course is to train students for future professional appointments as cultural

mediators, journalists, public managers and diplomats, with a deep knowledge of the

Mediterranean region, its values and spiritual identity.

The Foundation’s most recent post-graduate project fosters, in association with the IULM

(Libera Università di Lingue e Comunicazione), the Master’s degree course in Management of

Artistic and Cultural resources that opened in February 2011 in the Roman branch of this

University. This project was established for the purpose of training qualified managers and

professionals in the field of artistic and cultural resources by providing a broad education evenin classical and social subjects and encouraging the development of specific managerial skills.

Rome, 22nd April 2010, conference room in the LUMSA University. Graduates receive their Master’s degree in ‘Politics and International Relations’in the presence of the President of the Senate, Rt Hon. Renato Schifani and the Chairman of the Fondazione Roma


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In 2010, just over ten years from the establishment of the historical Museo del Corso (now Museo Fondazione Roma), the Fondazione Roma opened a new Museum in Palazzo Sciarra.

However, the additional galleries involved a greater effort in organising the exhibitions. Thus,

for the purpose of efficiency, the Foundation decided to establish a new foundation specialised

in the field of Arts and Cultural Heritage and Activities, named Fondazione Roma-Arte-Musei

(in brief ‘Musarte’), which would initially manage the exhibitions and museums and,

subsequently, further undertakings in such field.

Since the Fondazione Roma-Mediterraneo and Fondazione Roma-Terzo Settore have similar

institutional purposes and may potentially interact, they became founding members of the

Fondazione Roma-Arte-Musei. Incorporated in 2011, the Fondazione Roma-Arte-Musei is

classified as an ‘open foundation’ therefore other parties, such as individuals and public and

private organisations, who wish to share the aims, may join the Foundation beside the three

founders.

The original idea was to gather all the Muses of culture into one foundation. Indeed, the

Fondazione Roma Arte-Musei operates in five cultural fields which correspond to five different

Muses: Visible Arts, Poetry, Music, Drama and Publishing. The Foundation operates in these

fields either independently or in partnership with national and international, private and public

bodies and institutions pursuing the same objectives. Fondazione Roma Arte-Musei is a non-profit institution that has the purpose of promoting and accomplishing artistic and cultural

projects in order to contribute to the socio-economic and moral development of the community.

The projects include both new artistic and cultural schemes and those successfully launched by

Fondazione Roma or its specialised Foundations (Fondazione Roma-Mediterraneo and

Fondazione Roma-Terzo Settore).

Hence, in the year in which Italy celebrated the 150th anniversary of National Unity, the

Fondazione Roma-Arte-Musei contributed to the 54th Venice Biennale by participating in the

Biennial Project in the Regions, held in the Lazio Region Pavilion, where the central hall inPalazzo Venezia in Rome, that hosted works by fourteen highly valued artists, many of which

from the San Lorenzo school and other qualified centres in Lazio, was arranged according to the

scientific and critical project performed by the Foundation, connoting the exhibition as an

original indication of the Foundation’s attention to the future of culture.

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Fondazione Roma -

Rome, Palazzo Venezia. The Lazio Pavilion of the 54th International Exhibition of ArtIn the foreground, Tommaso Cascella, , 2010, dull transparent painted iron, 100x450 cm

Bruno Ceccobelli, , 2011, ombretto su federa, 500x200 cm Fittings


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The Fondazione Roma-Arte-Musei has been entrusted with the organisation of the temporary exhibitions promoted by Fondazione Roma and held in the two museums located in Palazzo

Sciarra and Palazzo Cipolla: an authentic cultural centre, in which the journey into art runs

along a double track, classical art in the former and contemporary art in the latter.

In the field of Music, Fondazione Roma-Arte-Musei pursues two important partnerships entered

into by Fondazione Roma: one with Fondazione Arts Academy which led to the establishment

of the Orchestra Sinfonica di Roma in 2002 and the other with the Associazione Résonnance

Italia for the accomplishment of the Résonnance project.

Fondazione Roma-Arte-Musei has also inherited Fondazione Roma’s commitment to poetry, for

which the main project is the annual review entitled ‘ (Portraits of Poetry)’.

In the theatrical field, this Foundation cooperates with the Quirino, a leading Italian playhouse

with the largest audience, in a series of projects with an artistic, social, philanthropic and edifying

purpose that aim to encourage integral personal development by means of culture and solidarity.

Publishing is the fifth field in which the Fondazione Roma-Arte-Musei operates. The

Foundation contributes to the publication of catalogues, discs, cultural books and artistic

multimedia products.

The Fondazione Roma-Arte-Musei plans to be an authoritative cultural think tank strictly

engaging in topical issues. For this purpose the Foundation organises seminars, training courses

and research, educational, touristic and popular projects, even in cooperation with other

prestigious national and international, private and public institutions and organisations.

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Rome, Palazzo Venezia. The Lazio Pavilionof the 54th International Exhibition of Art

Maurizio Savini, , 2010,mat fiberglass, chewing gum, iron, 200x135x140 cm


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The galleries in the Fondazione Roma-Museo are an exciting, enthralling and engrossing journey to discover art and culture. Advocated by Professor Emanuele, the Museum was established, in

1999, as the Museo del Corso situated in Palazzo Cipolla on the central Via del Corso and has

since opened to the public over thirty five temporary exhibitions which have marked the gradual

development of an original artistic identity, occasionally anticipating future trends, so as to be

distinguished as one of the most authoritative and dynamic museums in the Roman, national

and international qualified museum circuit.

Prestigious exhibitions have told the story of numerous important stages, starting from the

maiden exhibition

(A collection to be discovered: Masterpieces from the sixteenth to eighteenth

century belonging to the Ente Cassa di Risparmio di Roma), which brought the Foundation’s

conspicuous artistic heritage to light. In time the succeeding exhibitions explored Italian,

European and international art periods and styles from the Macchiaioli to the Impressionists,

Rodin to Hopper and Piranesi to Futurism, pursuing both artistic and educational purposes in

order to edify comparison, exchange and dialogue between different cultures.

Special attention has been paid to civilizations which are distant from that of the West, such as

the Forbidden City in China, to which the exhibition entitled

(Masterpieces from the Forbidden City. Qianlong and his Court) wasdevoted in 2007-2008 and the Japanese Master, Hiroshige, for whom the exhibition

(Hiroshige - The Master of Nature) was held in 2009.

During this journey across and inside culture we have been accompanied by some of the most

renowned museums in the world: The Museo Nacional Centro de Arte Reina Sofia in Madrid,

the Russian State Museum and the Hermitage in St. Petersburg, the Puskin Museum of Fine Arts

and the Kremlin State Museum in Moscow, the Louvre in Paris, the Palace Museum in Beijing,

the Gemäldegalerie in Berlin, the Honolulu Academy of arts, the Whitney Museum of American

Art in New York and the Museo del Prado in Madrid.

The retrospective entitled (Rome and Antiquity. Reality

and vision in the eighteenth century), opened a new exhibition area situated on the ground

floor of the Fondazione Roma’s historical headquarters in Palazzo Sciarra that enabled the

Museum to increase its artistic schedule. The two facing galleries, Palazzo Cipolla and Palazzo

Sciarra, now represent a museum centre with an exhibition surface of over 1.500 square meters

capable of holding exhibitions devoted, respectively, to contemporary and classical art.

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Fondazione Roma -

Il personale dell’Hospice dedicato all’assistenza dei malati con breve aspettativa di vita

(A collection to be discovered: Masterpieces from the sixteenth to eighteenth century belonging

to the Ente Cassa di Risparmio di Roma)Museo Fondazione Roma 2nd February - 31th March 1999


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Museo Fondazione Roma, 16th February - 13th June 2010

(Masterpieces fromthe Forbidden City. Qianlong and his Court)

Museo Fondazione Roma, 20th November 2007 - 20th March 2008

(The fifteenthcentury in Rome. The renaissance of art from Donatello to Perugino)

Museo Fondazione Roma, 29th April - 7th September 2008

(Hiroshige - The Master of Nature)Museo Fondazione Roma 17th March - 13th September 2009


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Fondazione Roma -

(Milan, Nineteen Sixties. A dialogue between Rome and Milan)Museo Fondazione Roma, 10th May - 31st July 2011

The Museum is distinguished both for the peculiarity of its aesthetic offer and the originalcultural investigations accomplished through seminars, conferences, performances, events related

to ongoing exhibitions and educational activities for children, all of which contribute to

enhancing and diversifying the cultural offer in Rome.

Beyond the walls of the Museum, meant as “a place where works of art are kept and exhibited”

the Museo Fondazione Roma has become a centre in which the community may enjoy a special

artistic experience. “Art is a means of union among men” (L.N. Tolstoj): such statement has

never been more accurate in describing the Museo Fondazione Roma; an open and versatile

meeting place in which to socialise, familiarise with the beauty of art and enjoy various cultural

events.


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(Rome and Antiquity. Reality and vision in the eighteenth century)Museo Fondazione Roma, 30th November 2010 - 8th May 2011


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From Washington to Beijing, Vienna to Berlin, Rio de Janeiro to Saint Petersburg then home tothe Auditorium della Conciliazione in the Eternal City, where the orchestra performs its regular

programme for the symphonic season. The journey into music, through the Orchestra Sinfonica

di Roma’s performances, knows no boundaries since, by nature, this is a universal language. The

tours in Italy and abroad, the lessons held in schools and the concerts performed, free of charge,

in the city squares are part of one great project conceived and implemented by the Chairman of

the Fondazione Roma, Professor Emmanuele F. M. Emanuele, who is also the Vice President of

the Orchestra.

The orchestra was established in 2002 with the support of the Fondazione Roma and is managed

by Arts Academy and conducted by Maestro Francesco La Vecchia, who is a highly experiencedartist and former director of many prestigious music corps in Europe, America and Asia. The

Orchestra was created for the purpose of spreading the culture of music, especially amongst youths

and the less fortunate, and providing an occupation to young professors striving to find dignified

employment in the so called field of “cultivated music”.

Regardless of the country’s music tradition and over eighty conservatories managed by the Ministry

of Education, employment in Italy is indeed limited and it is extremely difficult to join an orchestra.

Thirteen out of the fourteen Public opera bodies are opera houses and only one is a Symphony

Orchestra; the Accademia Santa Cecilia in Rome. In this context, the idea of establishing an entirely private Symphony Orchestra, a novelty throughout the continent, may have seemed an impractical

plan. Nevertheless, professor Emanuele’s intuition proved to be successful and the miracle has been

performed.

With seventy instrumentalists, selected by means of a strict audition, the Orchestra Sinfonica di

Roma went far beyond becoming one of the most important Italian orchestras and is now

renowned and highly esteemed abroad, proving that in times in which the State reduces its

commitment to this field, quality music may be still be performed without public subvention.

The Orchestra enhances and spreads the Italian musical heritage, which is persistently overlooked,the masterworks of symphonic literature from Martucci and Casella to Respighi and Petrassi and

records albums for paramount international labels, thus broadcasting and preserving the vast

repertoire of great Italian composers throughout the world. Above all, the Orchestra has never lost

sight of its philanthropic vocation - at a local, national and international level - it has, and still mixes

‘beauty’ with ‘usefulness’ and ‘culture’ with ‘commitment to society’, by speaking the chief and

universal language of music.

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Fondazione Roma -

The Orchestra is a witness that music may have both artistic and social purposes. In China,conducted by Maestro La Vecchia, the Symphony Orchestra held five concerts in Beijing, Shanghai

and Dujiangyan located in the Sichuan Province devastated by an earthquake on the 12th May

2008. The proceeds were devolved to the reconstruction of the areas which were affected by the

earthquake.

The project basically aims to provide access to culture: tickets for t

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