Palazzo Ducale “Cantelmo”

In 589 AD, during the Lombard invasion led by Duke Zottone, the monumental Roman-style city suffered destruction and ruin. The final blow came with the earthquake of 1349, which razed to the ground the Roman remains and the early medieval village. Atina was rebuilt—still on the site of the ancient Roman city—but on a smaller scale, following new urban planning principles introduced by the Cantelmo family.

On the same site where the d’Aquino family had built the original fortress two centuries earlier, the Cantelmo began constructing this magnificent palace, which two centuries later Giulio Prudentio described as “a court in the style of the Castle of Alvito, comfortable for the Captain and others.”

Sporadically inhabited by the dukes until 1458, the palace was later ceded, at the end of the 15th century, to Count Diomede Carafa of Maddaloni, who used it as the residence for the lieutenants and field masters of the ducal house.

In the 19th century, it passed to the Paniccia family of Vicalvi, who sold it to the municipality in 1870.

In 1887, Cesare Pascarella described it as:

“dominated by a crenellated tower. Once the lords of Alvito lived here; now it hosts two muses, Tragedy and Comedy—that is, the prison and the theatre.”

Its elegant silhouette rises at the center of the old village. The façade is flanked by two projecting towers and adorned with beautiful mullioned windows and splayed rose windows. Above the entrance portal, a Roman frieze leads us into one of the best-preserved medieval palaces in southern Lazio. Of particular note is the chapel dedicated to Saint Onuphrius, which houses 14th-century frescoes.

Outside, to the right of the entrance, stands a statue in a toga, commonly called the statue of Pasquino. The inscription at its base refers to Emperor Marcus Aurelius Antoninus (161–180), who owned a villa in Atina where he would rest from the burdens of government. The monument was erected by decree of the council of decurions.

“IMP CAES L SEP / TIMI SEVERI PIL PERTI NACIS AVG ARAB ADIAB / PART MAX FIL DIVI MANTONINI / 5 PII GERM SARMAT NEP DIVI PILL ANTONINI PRON DIVI HADRIANI I ABNEP DIVI TRAIANI ET DIVI-/ NERVAE ADNEP M AURELIO TANTONINO AUG TRIB POT I PROCOSP.C.200 / 10 D D PUBLICE” (C.I.L. 5052),

Several other inscriptions are preserved on the outer walls. One comes from the courtyard of the Casino Visocchi in Settignano, site of the ancient Villa Septa Jani:

“C LVCCIO C FITER PAETOIC LVCCIO C FI FILIO RVFOI GENTIA C F FECIT” (C.I.L. 5091) “To Gaius Luccius Paetus, son of Gaius, of the Teretina tribe. For their son Gaius Luccius Rufus, son of Gaius, Gentia, daughter of Gaius, had this monument made”

Among the artifacts preserved in the atrium are the remains of some columns, a Doric frieze, and an altar. Its inscription records that, during the century, the citizens of the municipium, using funds raised among themselves, dedicated a monument to Gaius Avidius Clemens, son of Gaius, of the Teretina tribe, aedile, duumvir, and knight of the State:

“CAVIDIO CFTER / CLEMENTI AED | VIR / EQVO PVBLICO / urceus MVNICIPES ET INCOLAE patera/5AERE CONLATOIL DD D” (C.I.L. 5066).

The most precious element, absolutely worth a visit, is the magnificent mosaic dedicated to a Roman warrior (some scholars suggest he may be a Samnite soldier), shown nude, wearing a crested helmet, cloak, holding a spear and shield. He is depicted in four distinct postures, illustrating different phases of combat. Remarkable for its size (7.30 x 4.20 meters) and refined workmanship, the mosaic is made of black and white tesserae. Originally, it adorned the atrium of a wealthy Roman domus.