The works began in 1920 and they ended in 1924 and it is interesting an old aerial photo of the block , taken during World War I; next to the cloister of S.Francesco there's a void, a demolition of the church of San Giacomo Maggiore, of the XII century but restructured in the '500s and in the '700s. The foundation of the complex dates back to the archdeacon Achille Tacoli. The church was inserted in the block, traditionally called Tacoli, in deference to the founder evidently, as it appears from a map of 1865 and already in 1912 Guido Tirelli proposed to demolish them both, which happened in 1919, to leave the place to the Bank of Italy. Pieces of the mosaic floor of the old Romanesque church are preserved in the Civic Museun. The designer of the new bank was the Roman engineer De Gaetani. The bank is a compact parallelepiped, rectangular, two-tiered monumental with mezzanine, a large door is centered in the middle and it opens onto the Cavour Square. The intervention in this part of the city is quite invasive: it does not match the facade of the nearby church and it appears sorrowful in the perspective telescope when you arrive from Via Crispi. In ancient times this was the heart of the city and had an image and an urban configuration of medieval type: the insertion of such imposing and rigorous artifacts in the volumes, we also mention the overlooking block S.Rocco and the contemporary palace replacing the Trivelli, badly integrates with what remains of the soul of the place. The flat coverage does not help with the integration to the context. The structure is brick masonry with interposition of stone elements such as window frames, gables, columns adjacent to the door. The facade is tripartite with a central forepart, slightly protruding from the wire of the wall, highlighted by the entrance gate, framed by two giant columns of trabeated marble and set on high pedestals and integral marble cladding. The choice of such courtly materials, as well as the monumental and powerful form, had a high symbolic value. The designer also divides in three parts the two northern and southern facades but he works with less sculpural elements, flatter: pilasters leaning against the facade, recessed trabeation and not projecting pedestrals in bas-relief. The site is in excellent condition, not accessible for visits but it is accessible to the public. The square in front, in the 80s, hosted a car parking lot, recently it has been organically arranged, made completely pedestrian and it contributes, especially in the evenings with the light effects, to make a little more graceful and contextualized the volume.
(file edited by the architect Rosaria Petrongari, december 2011)