1.- The Chapel. “Untill 1887 there was not worship in this chapel… moreover, there hung the ropes of the bells and it was disgusting to see the broken movements of those who rang the bells, they had to put an incredible effort because of the highness of the bell tower” Once moved the ragged and ruined painted of “Praying Saint Charles whit Angels” (Bartolomeo Cavarozzi, also known as Bartolomeo del Crescenzio, c. 1590-1625), the chapel of Our Lady, already of the Crescenzi Family, was dedicates to Our Lay of Sacred Heart. In the biennium of 1887-1889 Aristide Leonori, Pupil of Virginia Vespognani, rinnoved the architecture of the chapel. All the Chapel is encrusted with marble. The task was performed with the finest art of the hand of Boggio-Riccardi.
2.- The picture and the Altar of Our lady. The holy painting, by Silverio Capparoni, is a remarkable work of piety and art. When Pius IX watched our lady painted that way exclaimed. “This is the image we wanted”, and blessed it. The holy painting had been putted into a metal frame in which a golden sunburst decorates the image. The altar is made of marble threaded with gold, fluted columns on each side and toped with golden capitals and bases. The altar and the floor also of marble were donated by the lawyer Camillo Grilli and blessed on February 2 of 1889.
3.- the mortuary monument. The Monument of the countess Tomati Robilant (Rinaldo Rinaldi, 1793-1873) presents sensitive influencie of Canova, it existed before the restoration. It holds this Inscription:
A. + O. / PRAXEDES. COMITISSA. TOMATI. DOMO. ASTA. POMPEIA. / BENEDICTI. NICOLIS. EX. COM. ROBILANT. DULCISSIMA. CONIUX. / TANTO. VIRO. ORBATA. VIDUA. SPECTATISSIMA. / RELIGIONE. PRUDENTIA. LIBERALITATE. NULLI. SECUNDA. / SUPR. DIEM. OBIIT. III. ID. NOV. MDCCCXXXIV. AN. NATA. LX. P. M. / PRESB. JO. BAPT. MARELLI. HAERES. / H. G. A. M. P.