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"Le Stanze del Duomo" arises from the restoration of an ancient building located near St. Mary Gate, historic access to the medieval town and it's close to the Romanesque Cathedral and the Boniface VIII Palace.


The origins of the building date back to the early twelfth century. From historical sources it is established that the current building was built on the ruins of the church of Santa Cristina. Traces of this church are visible as stone arches on the facade next to S. Maria gate.


From the analysis of historic masonry can be seen that the building was rebuilt or concurrently or after the sixteenth-century remake of S. Maria Gate, thesis also supported by the current configuration of the staircase, which leads exactly to the upper portion of the door itself, thus allowing an effective security operation by the city gendarmerie.



After the looting of the city occurred in 1550, by the Spanish led by the Duke of Alba, he felt the need to fortify the city and thus began the works for the construction of several bastions, one of which is located right next to the gate.


In the second half of the sixteenth century, the palace was used as the residence of Cardinal Benedetto Lomellini.


Until 1818 the building was in the property of the Congregation of the Sisters of Charity of Tecchiena. In 1818 the building was purchased by an officer of the army of Napoleon Bonaparte, such Nicolas Pierron, who decided to establish in Anagni.


Immediately after the purchase of the property he began renovation works that were rudely interrupted due to unknown reasons. This works mainly concerning the definition of a decorative facade which included the total plastering of the building with the production of moldings and frames to raise the popular level of the building to the aristocratic level of family Pierron.


Only in 2012, after the reunification of the whole property in the hands of the Anagni family Coletti Conti, the building has enjoyed a deep and thorough restoration designed and directed by the architect Alberto Conti Coletti, heavily focused on the recovery of the originality of spaces and of finishes found in the building.

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