The building, built on a project by the architect Gaspero Maria Paoletti between 1779-1781, was characterized by an ashlar portal of great scenographic effect. In 1916 the Florentine architect Ugo Giovannozzi presented a renovation project for the entire complex based on the concept of the Roman baths; will be completed in 1928. The plant is surrounded by a park full of Lebanese cedars, palms, sequoias, acacias, laurels, wisteria, pines, lime trees and decorated with imposing colonnades, tribunes, exedras, fountains and large flower beds bordered boxwood. The monumental entrance is protected by a large gate and a large canopy in wrought iron and polychrome windows, the work of the Berti factory in Pistoia. On the top of the main façade there are four large statues in Carrara marble, sculpted by Corrado Vigni, representing: the Source; the medicine; hygiene; Health. The sumptuous decorative elements of the facade were made by Aristide Aloisi. The frieze is the work of the Florentine plasterer Mario Ceccherini. The element that characterizes the building is a shell-shaped granite spring supported by a bronze group of marine figures (a large octopus, two fish, two crocodiles, some frogs), the work of the Florentine sculptor Sirio Tofanari, the whose name stands out on the carapace of a large crab. The thermal water that flows from the source gives the establishment its name, and is collected in a swimming pool with a parapet decorated with seahorses. On the sides of the source stands a semicircular colonnade, which highlights the inscription on the architrave: BALSAM THAT TAKES OUT COMES FROM UNDERGROUND AND OPENS IN THE CLEAR DAY. In 1926, the painter Basilio Cascella from Pescara designed seven large polychrome allegorical panels, made of ceramic tiles, for the gallery of serving counters. Each panel shows a marble architrave where the title of the various representations can be read; images and words that enhance the beneficial effects of water in the different ages of life: Childhood; Adolescence; Beauty; The source; The force; Maturity; Old age. At the center of the last panel, at the bottom, the name of the author and the year of installation of the work (1927) are clearly reported, curiously preceded by a red lucky horn. In the panel of the Adolescence, on the tile placed in the vertex at the bottom left, is reproduced the coat of arms of the “Fabbrica Mattonelle Smaltate G.R. Percossi and C. Civita Castellana”. On the right side of the internal square there is a raised circular grandstand, used as the seat of the orchestra. The dome is characterized by frescoes by Ezio Giovannozzi, which portray the different groups of instrumentalists, with the captions: Strings and Piano – Brass and Timpani – Oboe and Flavti – Organ and Harp. The four groups are interspersed with trompe-l’oeil paintings depicting tenors, baritones and soprano singing while leaning from the boxes. The architrave placed above the columns of the tribune bears an inscription that reads: THE SVON CHE DI DOLCEZZA I SENSI LEGA. Inside the complex there is a hall for conferences and events renovated in 1989 by Paolo Portoghesi
