This paper aims to demonstrate how the cycle of commemorative inscriptions gathered inside the roman church of San Bernardo alle Terme worked in favor of one patron, that is the noble Italian woman Caterina de’ Nobili Sforza (1535–1605), who had this church built between 1598 and 1605 and decided upon the iconographic and decorative programs. By placing this cycle of inscriptions dedicated to six deceased members of her family upon the circular walls of San Bernardo, she aimed at a double purpose: fulfilling her commemorative duty by spiritually reuniting the members whose corpses were scattered all over Rome, but also celebrating her own persona by positioning herself clearly amongst all these individuals. By using Howard Burns’ theory of "identifiers" – according to which, in early modern Italy, the expression of an individual’s identity in an architectural context emerged through the use of several elements like names, coats of arms, or noble titles –, the analysis of the texts and design of this commemorative cycle will show how funerary inscriptions could be used not only to shape the memory of a deceased person, but also to celebrate the ones who were left behind.