The architectural and artistic works of the Vittoriano, an Italian national monument located in Rome on the northern slope of the Capitoline Hill, represent, through allegories and personifications, the virtues and sentiments that motivated Italians during the Risorgimento, the period during which Italy achieved its national unity and liberation from foreign domination.[1] For this reason, the Vittoriano is considered one of Italy's patriotic symbols.[2]
It was the monument's designer, Giuseppe Sacconi, who decided to place only exclusively allegorical works of art, because he believed that only through art devoid of any reference to contemporaneity could the monument be given a universal value that would not be affected by the passage of time. Sacconi had to repeatedly counter the various proposals to place inside the building works of art that also represented precise historical figures and facts, beyond, naturally, King Victor Emmanuel II, to whom the monument is dedicated.
The architectural centerpiece of the Vittoriano is the equestrian statue of Victor Emmanuel II, the only non-allegorical representation in the monument.[2] [3] The term "Vittoriano" derives precisely from the name of Victor Emmanuel II of Savoy, the first king of united Italy, one of the protagonists of the Risorgimento and the process of Italian unification, so much so that he is referred to by historiography as one of the four "Fathers of the Fatherland,"[2] along with Cavour, for his political and diplomatic work, Garibaldi, for his military actions, and Mazzini, whose thought illuminated the minds and actions of Italian patriots.
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Rising on the Capitoline Hill, the Vittoriano stands in the symbolic center of ancient Rome and is connected to modern Rome by roads that radiate out from Piazza Venezia.[5] The monumental complex of the Vittoriano is 70 meters high (81 meters if the crowning quadrigas of the two propylaea are included), 135 meters wide, 130 meters deep, occupies an area of 17 550 square meters and possesses, due to the conspicuous development of the interior spaces, a walkable area of 717 000 square meters.[2] [6] [7] The entrance staircase is 41 meters wide and 34 meters long, while the terrace where the Altar of the Fatherland is located is 66 meters wide.[8] this terrace, which is the highest in the monument, can also be reached via 196 steps that start at the sommoportico.[12]
One of the architecturally predominant elements of the Vittoriano are the external stairways, consisting of a total of 243 steps, and the portico located at the top of the monument, sandwiched between two lateral propylaea.[13] Another architecturally significant element is the wide colonnade of Corinthian order that characterizes the sommoportico and the two propylaea.[14]
The allegories (i.e., abstract concepts expressed through concrete images) of the Vittoriano's artistic works represent, according to the canons of the Neoclassical style, mostly the virtues and sentiments, often rendered through personifications, that motivated the Italians in their struggles for national unity during the Risorgimento, understood as the period from the uprisings of 1820-1821 to the capture of Rome (1870),[15] Various plant symbols are present, including the palm (recalling victory), oak (strength), laurel (victorious peace), myrtle (sacrifice) and olive (concord).[2] All the works of art created for the Vittoriano engaged the major artists then active in Italy.[18]
The Vittoriano contains widespread allegorical meanings that, in the intentions of their makers, should have been clear and unambiguous. According to some authors,[19] however, this goal was not achieved, as the works, in their view, often suffered from ambiguous interpretations. Those who argue for this inherent ambivalence of the Vittoriano find its causes in the Risorgimento, which, according to the revisionist view, was characterized by a dual nature: on the one hand there would have been the patriots, and on the other hand the silent majority, consisting mainly of peasants and the middle class, who would have remained indifferent to the process of Italian unification. The patriots themselves, moreover, had different views on the future system of Italian government: from the beginning they were in fact divided into centralists and federalists, into monarchists and republicans.[19] All of them, in any case, recognized themselves in the same tricolor flag and shared the same ideals of unity and independence.[20]
To this must be added the historical stratification and the profound difference in the Vittoriano's public use, particularly the political contrast between liberal and fascist Italy in spreading their respective political messages.[19] While liberal Italy saw the Vittoriano as a secular temple where the unity and freedom of the homeland could be metaphorically celebrated,[21] [22] Fascism viewed the monument as a stage where the country's aggressive military might could be flaunted.[24] Finally, since the birth of the Italian Republic it has been regarded as the "forum of the Republic."[25] From a stylistic point of view, the architecture and works of art that embellish the Vittoriano were conceived with the aim of creating a "national style," a model to be used later in other areas as well. This was, in fact, the need expressed by art critics in the first decades of unification, in which the nation was fine-tuning its identity also from an artistic point of view. This "national style," according to Camillo Boito, who was its theorist, could not be new in plan, but rather, in order to have a fully national character, it would have to connect to the Italian architecture of the past; the study of the classics, however, was to be considered a point of departure and not of arrival.[26] This is what Sacconi wanted to achieve and felt obliged to.
In this regard, for the realization of the Vittoriano, Giuseppe Sacconi took his cue from neoclassical architecture, the heir of classical Greek and Roman architecture, on which Italic elements were grafted according to the spirit of Eclecticism.[27] Sacconi also kept in mind the architectural style in vogue during the Second French Empire of Napoleon III (1852-1870), which was very common in the new buildings constructed in Paris at that time, leading to the complete transformation of the French capital;[28] in fact, this style was the only one he appreciated among those contemporary to him, although he disagreed with its excessive ornamentation and sumptuousness.[29] According to some authors, Sacconi was also inspired by the forms used, including in the colonial sphere, by several imperialist nations of the time such as the United Kingdom, France, the German Empire, and Belgium.
Leaning against the Vittoriano's exterior basement, on either side of the entrance gate to Piazza Venezia, are the "fountains of the two seas," dedicated to the Adriatic Sea and the Tyrrhenian Sea, respectively. Both are set in a flowerbed and possess, since their origin, a hydraulic system that recycles their water, avoiding waste.[30] At one time, there was also an active 500,000-liter water cistern, later abandoned, located in the monument's basement.[31] [33]
The monument, as a whole, appears as a kind of marble covering of the northern slope of the Capitoline Hill:[35]
At the entrance there is an imposing staircase leading to the terrace of the Altar of the Fatherland and the Unknown Soldier and representing the Vittoriano's first elevated platform as well as its symbolic center.[37] [43] In fact, Thought and Action were fundamental in the process of Italian unification, given that they are necessary to change the course of history and to transform a society.[43] The overall shape of the two sculptural groups recalls the intrinsic characteristics of the two concepts: The Action has a triangular, angular outline, while The Thought has a circular shape.[43] The two winged Lions represent the initiation of patriots who decide to join the Italian unification undertaking motivated by ardor and strength, which also control their instinctive side.[45] [46] The Winged Victories, in addition to recalling the military and cultural achievements of the Roman era, allegorically symbolize the good omen brought about by the realization of national unity.
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The Thought | It is located to the left of the staircase. A bronze winged Genius represents The Thought, who rests a hand on the personification of The Wisdom, from whom he allegorically takes inspiration, and who helps The People to rise up encouraged by the goddess Minerva. The composition is completed by the Genius of War sharpening his weapons ready for battle, and by The Discord, who is holding a torch and a scourge, by means of which she puts to flight The Tyranny, which is now at the end of its tether. | Giulio Monteverde | ||||||||||
The Action | It is located to the right of the staircase. The Action, rendered allegorically by a group of soldiers of the Savoy army, raises the flag of Italy on which the words "Italy" and "Victor" are inscribed, while a Lion of Venice crushes the oppressor, a woman holding a club is ready to throw herself at the enemy, and a young Garibaldian (the only figure in the entire Vittoriano, other than the equestrian statue of Victor Emmanuel II, wearing contemporary clothing) | p= 72">. prepares for the assault and a commoner cries out for redemption.[47] | Francesco Jerace | |||||||||
Winged Lion | These are two marble statues representing a winged Lion crouching on the balustrade. The two Winged Lions represent the initiation of patriots who decide to join the Italian unification undertaking motivated by ardor and strength, which also control their instinctive side. | Giuseppe Tonnini | ||||||||||
Winged Victory | These are two bronze statues depicting a winged Victory soaring on a base decorated with naval rams. The Winged Victories allegorically symbolize the good omen for the realization of national unity, in addition to recalling the military and cultural achievements of the Roman era. | Edoardo Rubino (the left one) | ||||||||||
Edoardo De Albertis (the right one) |
At the end of the entrance staircase, immediately after the statues of the Winged Victories, is the terrace of the Altar of the Fatherland, the first elevated platform of the Vittoriano, which is centrally dominated by the statue of the goddess Roma and the shrine of the Unknown Soldier.[48] Before reaching the entrances to the propylaea each of the two stairways breaks off, creating a small intermediate terrace shelf that provides access to the Terrace of the Redeemed Cities, the Vittoriano's third large and last elevated platform, which is located exactly behind the equestrian statue of Victor Emmanuel II and immediately below the colonnade of the sommoportico.
The redeemed cities are those united with Italy following the Treaty of Rapallo (1920) and the Treaty of Rome (1924), peace agreements at the conclusion of World War I: these municipalities are Trieste, Trento, Gorizia, Pula, Rijeka, and Zadar.[55]
Following the Treaties of Paris (1947), peace agreements signed by the nations participating in World War II, Pula, Rijeka and Zadar passed to Yugoslavia and - after the dissolution of the latter - to Croatia.[56] After World War II, the territory of Gorica was divided: most of the city remained with Italy, while a small portion passed first to Yugoslavia and then to Slovenia, developing over time into the new city of Nova Gorica.
Each redeemed town is represented by an altar leaning against the back wall that bears the corresponding municipal coat of arms carved into it.[21] [57]
At the base of the text of the Victory Bulletin are two other altars similar to those of the redeemed cities but having, instead of the coat of arms of the municipalities, a helmet:
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Altars of the Victory Bulletin | These two altars bear the inscription, "Et Facere Fortia" (left altar of the inscription) "Et Pati Fortia" (right altar) echoing the Latin phrase Et facere et pati fortia romanum est (Livy, History of Rome, 11: in Livy's work the phrase is uttered by Mucius Scaevola against Porsenna), that is, "It is the attribute of a Roman to perform as well as to suffer mighty things." | p= 56">. | |||||||
The monumental inscription bearing the Victory Bulletin reads:
Similarly, the Bulletin of Naval Victory was signed by Admiral Paolo Thaon di Revel, supreme commander of the Royal Navy. On the other hand, no similar bulletin was drafted for the air forces, since the latter at that time still reported to the Servizio Aeronautico, a department of the Royal Army: the Regia Aeronautica, the third armed force of the Kingdom of Italy, was in fact established only in 1923, after the end of World War I.
The terrace of the redeemed cities also features a boulder from the Grappa Massif, for a year the scene of the Italian front in World War I, to represent all the places where Italian soldiers fought during this conflict.[21]
The Altar of the Fatherland is the most famous part of the Vittoriano and is the one with which the whole monument is often identified.[61]
Located at the top of the entrance staircase, it was designed by Brescian sculptor Angelo Zanelli, who won a competition specially held in 1906.[62] The presence in the Vittoriano of the goddess Roma is meant to reiterate the thought of the Risorgimento patriots: the Eternal City is the one and only inalienable capital of Italy, and the whole history of Italy converges toward this idea.[21] [64]
The Unknown Soldier, an Italian soldier who died in World War I whose identity remains unknown, was transferred to the Altar of the Fatherland on November 4, 1921.[2] The epigraph on his tombstone bears the Latin inscription "Ignoto Militi" and the years of the beginning and end of Italian participation in World War I, namely "Mcmxv" (1915) and "Mcmxviii" (1918). His tomb is a shrine symbolically representing all the fallen and missing in the war. The side of the Tomb of the Unknown Soldier facing outward at the Altar of the Fatherland is always guarded by an honor guard and two flames perpetually burning on braziers.[65] The guard is provided by servicemen from the various arms of the Italian armed forces, who originally took turns every ten years,[66] while later they took turns according to a schedule established from year to year.[67]
The perpetually burning flames are a very ancient symbol, which has its origins in classical antiquity and especially in the cult of the dead: they represent the memory that remains alive despite the passage of time. In this case they thus symbolize the sacrifice of the Unknown Soldier and his imperishable memory in Italians. This is also true in those who are far from their country: not by chance, on the two perennial braziers is placed a plaque whose text reads "Italians abroad to the Motherland" in memory of the donations made by Italian emigrants in the late 19th and early 20th centuries.[68]
The detailed description of the statue of the goddess Roma is as follows:
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Goddess Roma | The statue represents the goddess Roma dressed in a peplos and a goatskin cloak. On her head is a helmet and a crown embellished with wolf heads. In her right hand she holds a spear while in her left hand she holds a statuette of Winged Victory. From an allegorical point of view, the statue, with its features reminiscent of the Greek goddess Athena, is related to the other sculptures of the Vittoriano, The Thought and The Action, located at the entrance of the monument. Athena is in fact the goddess of wisdom, the arts and war. |
The general conception of the bas-reliefs located laterally to the statue of the goddess Roma, one on her left and the other on her right, recalls Virgil's Bucolics and Georgics, which complete with the statue of the Roman deity the triptych of the Altar of the Fatherland.[69] In fact, in the Georgics there is a reference to the Aeneid, which tells the legendary story of Aeneas, progenitor of the Roman people, while in both works the industriousness in work of the ancient Italians is evoked.[21] [69]
The bas-relief to the left of the Altar depicts the Triumph of Labor and converges scenographically toward the goddess Roma:[21] with the following allegories (from left to right)[2] [71]
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Agriculture | Concept represented by three figures: Breeding, Reaping, Harvesting and Irrigation | |||||||||||
Winged Genius of Labor | Represented by a figure climbing a large triumphal plow. | |||||||||||
Industry | Represented by a beam from which hangs a heavy anvil, on which a female hand lays an oak crown, a symbol of strength. |
The second bas-relief, to the right of the statue of the goddess Roma, symbolizes the Triumph of Love of the Fatherland and also converges scenically toward the statue of the Roman deity.[21] It consists of the following allegories (from left to right):[2] [72] It is a bronze equestrian statue, 12 meters high and 10 meters long, weighing 50 tons;[74] counting also the marble plinth, the entire sculptural group is 24.80 meters high.[75]
The statue is the only non-symbolic representation of the Vittoriano, as it is a depiction of a historical figure, King Victor Emmanuel II of Savoy. The choice to depict the sovereign on horseback is not accidental, as equestrian statues have, since the earliest times, had a precise symbolism. In classical antiquity, equestrian statues were aimed at exalting the subject portrayed, whose warlike virtues were emphasized; in addition, riding and controlling a steed communicated the character's ability to control primal instincts, thereby also acknowledging civic virtues.
The placement of the statue at the architectural center of the Vittoriano, above the Altar of the Fatherland and in front of the colonnade of the sommoportico, is also not fortuitous: in classical antiquity, equestrian statues were often located in front of colonnades, public squares, and more generally in central locations of conspicuous symbolic significance, such as along triumphal streets or in front of temples. The presence of a plinth on which the personifications of noble cities are carved is also not accidental: equestrian statues in antiquity were always erected on marble plinths complemented by inscriptions or figures.
The detailed description of the equestrian statue of Victor Emmanuel II is as follows:
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Equestrian statue of Victor Emmanuel II | This is a bronze statue representing King Victor Emmanuel II of Savoy riding a steed. | Enrico Chiaradia |
On the base of the equestrian statue of Victor Emmanuel II, as already mentioned, are allegorical sculptures representing fourteen noble cities, that is, capitals of pre-unification noble states, historically converging toward the Kingdom of Italy and the Savoy dynasty, as it embraced the cause of the Risorgimento.[77] Therefore, these are not necessarily the most important cities of Italy, but those considered its "noble mothers."
The fourteen statues of the noble cities are placed at the base of the equestrian statue to Victor Emmanuel II because metaphorically they are the foundations of Italy,[47] and, in a broader sense, the unity of the Fatherland is based on the union of its municipalities.[47]
In contrast to those representing the regions of Italy, the statues depicting the fourteen cities are all the work of the same sculptor, Eugenio Maccagnani.[2] Each city is identifiable by its coat of arms and the symbols historically associated with it.
The list below begins with the statue placed on the front of the plinth and continues counterclockwise.[78]
Continuing up the staircase past the equestrian statue of Victor Emmanuel II, one arrives at the most architecturally impressive and conspicuous element of the entire complex: the large portico with Corinthian-style columns, slightly curved, located at the top of the monument and therefore called the "sommoportico." At its ends are two propylaea, protruding from the sommoportico, of which they constitute the entrances.[83] This concept is reinforced by the presence of the winged Victories, whose meaning is related to the metaphorical communication of victory in battle through a divine message, which is allegorically delivered to the victor by winged Victories gliding from the sky.
The two quadrigas, as the Latin inscriptions placed on the pediments of the propylaea below explicitly state, symbolize the freedom of citizens ("Civium Libertati," on the right propylaeum) and the unity of the fatherland ("Patriae Unitati," on the left propylaeum), the two concepts allegorically linked to the entire monument as a symbol of "free and united Italy."[2] The presence of winged Victories on the chariots metaphorically communicates that Italy, having won unity and freedom, is ready to spread a new Renaissance in the world, supported by the moral virtues allegorically represented in the Vittoriano.[87]
The concepts of "freedom of citizens" and "unity of the fatherland" also summarize the fundamental themes[2] that characterized the beginning and the end of Victor Emmanuel II's contribution to the Risorgimento.[88] The beginning was the proclamation of Moncalieri (Nov. 20, 1849), with which the king, who had ascended the throne a few months before, confirmed the survival of the liberal regime (thus linked to the concept of "freedom of citizens") in a period marked by widespread conservatism that was a consequence of the violent repression of the 1848 uprisings. On the other hand, his political work had a happy conclusion with the capture of Rome (September 20, 1870), with which the sovereign concluded his objectives: a united Italy (which, however, still lacked Trentino, Alto Adige and Venezia Giulia, united to Italy only following the victory in World War I, which for this reason was considered by some to be the "fourth Italian war of independence") with Rome as capital (expressing the concept of "unity of the fatherland").[89] The presence of statues metaphorically portraying the regions of Italy draws inspiration from the personifications of the Roman provinces, often placed on celebratory monuments during the imperial era;[94] as an example, suffice it to think of the reliefs of Hadrian's temple in Piazza di Pietra. For the typology of the frieze, which is very tall and has statues alternating with clipei, Sacconi was inspired by that of the portico of the nearby Forum of Trajan.[95] Each statue is five meters high and was entrusted to a different sculptor, almost always a native of the region whose image he would carve. The cornice is also embellished with eagles and lion heads.[96]
The number of statues placed on the cornice of the sommoportico is sixteen: in fact, at the time of the drafting of the project, as many Italian regions were identified, which, moreover, had simple geographical significance: the region as an administrative entity was implemented only with the Republican constitution.[97]
Since the time when the Vittoriano was built, the criteria for identifying Italian regions, and sometimes even their names, have changed over the decades.
In 2000, on the occasion of the opening ceremony of the school year, held at the Vittoriano, President of the Republic Carlo Azeglio Ciampi said about the statues of the regions and noble cities: "Those who wanted this monument thought of it as being dedicated to the whole of Italy, because Italy is made up of its hundred cities, its regions, its provinces, and its municipalities."[103]
From left to right, the statues of the Italian regions are as follows:[104]
The interior spaces of the sommoportico and propylaea are accessed by two triumphal entrance staircases located at each propylaeum.[49] The two entrance staircases are located on a small terrace reached by a short flight of steps, which begins at the terrace of the redeemed cities.[49] At the base of the entrance steps of the propylaea are four statues of winged Victories on triumphal columns: made in 1911, two are at the entrance to the right propylaeum and two at the entrance to the left propylaeum.[2]
The description of the Winged Victories on triumphal columns is as follows:
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Winged Victory with palm and serpent | Located in front of the left propylaeum, it is placed to the left of its entrance. The figure carries a palm and snake. | Nicola Cantalamessa Papotti | ||||||||||
Winged victory with sword | Located in front of the left propylaeum, it is placed to the right of its entrance. The figure carries a sword. | Adolfo Apolloni | ||||||||||
Winged Victory with laurel wreath | Located in front of the right propylaeum, it is placed to the left of its entrance. The figure wears a laurel wreath. | Mario Rutelli | ||||||||||
Winged Victory with laurel wreath | Located in front of the right propylaeum, it is placed to the right of its entrance. The figure wears a laurel wreath. | Arnaldo Zocchi |
The entrance to each propylaeum leads to a large quadrangular vestibule, which opens onto a colonnade that offers a wide panoramic view of Rome.[49] From the vestibules one enters the interior spaces of the sommoportico.[49] The interiors of the propylaea and sommoportico are decorated with mosaics, important works of floral Art Nouveau and pictorial symbolism, which cover the lunettes and the two domes of the propylaea.
The mosaics of the interior spaces of the propylaea also have as their subject the metaphorical representation of the virtues and sentiments, very often rendered as allegorical personifications, that motivated the Italians during the Risorgimento.[112] The interiors of the sommoportico are decorated with allegories of the sciences, while the doors connecting the propylaea and the sommoportico are embellished with depictions about the arts.
The decoration of the ceiling of the left propylaeum was entrusted to Giulio Bargellini. In these mosaics he adopted innovative technical devices, such as the use of various materials and tesserae of different sizes and inclined in such a way as to create elaborate light reflections. Also noteworthy is how the lines of the mosaic representations continue toward those of the columns below.[89]
Bargellini's mosaics along the highest part of the walls figuratively represent: Faith (allegorically rendered with the consecration of children to the homeland by the people; in the background is a city reminiscent of Jerusalem), Strength (a warrior accompanying a young man to a meeting with a woman armed with a sword), Work (personified by a family of farmers gathering together after a day in the fields), and Wisdom (depicted with a teacher in a chair in front of his pupils seated on desks).[89]
The decoration of the ceiling of the right propylaeum was instead entrusted to Antonio Rizzi.[89] Along the highest part of the walls, Rizzi executed: The Law (a work composed of the allegories of Justice seated on the throne, Wisdom, Wealth, Prudence, Fortitude, and Temperance, each with its classical attributes), Valor (depicted with a young man tempering his sword on the wings of Liberty and who is surrounded by the founders of the Italic lineage, including Aeneas and Ascanius), Peace (a female figure holding a sheaf of wheat and by other figures bearing the fruits of the earth, while white doves fly toward a fountain of water) and The Union (depicted with a young man meeting The Poetry).[89]
The interior doors that lead from the two propylaea to the sommoportico are adorned with allegorical sculptures representing the arts: Architecture and Music, which are located in the left vestibule and are the work of Antonio Garella, and Painting and Sculpture, which are located in the right vestibule and were made by Lio Gangeri.[89] The interior of the sommoportico has a floor of polychrome marbles[37] and a coffered ceiling: the latter, which was designed by Gaetano Koch, is called the "ceiling of sciences."[89]
The "ceiling of the sciences" owes its name to the bronze sculptures by Giuseppe Tonnini placed inside the sommoportico, which represent the Allegories of the Sciences and are all composed of female personifications: Geometry with a compass and a square, Chemistry with a retort and a distiller, Physics with a lantern and a barometer, Mineralogy with a quartz crystal, Mechanics with a cogwheel, Medicine with a cup and a rod of Asclepius, Astronomy with a globe of the zodiac and a sextant, and Geography with a protractor and a globe. The vertical wall opposite the columns is decorated, in the upper part, with gilded-bottom mosaics dating from after 1925. Other sculptures inside the sommoportico are the Trophies of Arms (consisting of a set of shields, cuirasses, halberds, spears, flags, arrows and quivers; in one trophy is shown the crown of Italy, the eagle with the cross shield and the collar of the Annunciation: the emblems of the House of Savoy.[37]
The Crypt of the Unknown Soldier is a space located under the equestrian statue of Victor Emmanuel II, which is accessed from the Shrine of Flags. From the crypt, it is possible to see the side of the Tomb of the Unknown Soldier that faces the interior spaces of the Vittoriano.[114] It is therefore located at the Altar of the Fatherland, from which, on the other hand, one can see the side of the tomb that faces the outside of the building.[115]
The Unknown Soldier, on November 1, 1921,[117] was awarded the Gold Medal of Military Valor, Italy's highest military decoration, with a motivation that was also inscribed on the inner side of the shrine, in the crypt of the same name:[115]
On the door of the simulacrum, on the other hand, is the following epitaph, personally penned by King Victor Emmanuel III:[118]
The Soldier was also awarded foreign honors. As early as October 12, 1921, he was bestowed the Medal of Honor, the highest military decoration awarded by the federal government of the United States of America.[119] This was followed by the Cross of Liberty, the highest awardable by the government of Estonia, and the Croix de guerre, a French military honor.[120]
The Crypt of the Unknown Soldier is the work of architect Armando Brasini.[121] It is a room in the shape of a Greek cross with a domed vault accessed by two flights of stairs.[122]
There are also numerous artistic works that recall the history of ancient Rome. In fact, since its inauguration, the Vittoriano complex also celebrates the greatness and majesty of Rome, which is elected to the role of the legitimate capital of Italy.[15]
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Fountain of the Adriatic Sea | It is located to the left of the entrance to the Vittoriano. It is an allegorical personification representing the Adriatic Sea, with one arm facing East and the other resting on a Lion of St. Mark, symbolizing the city of Venice. | Emilio Quadrelli | ||||||||||
Fountain of the Tyrrhenian Sea | It is located to the right of the entrance to the Vittoriano. It is an allegorical personification representing the Tyrrhenian Sea, lying on the Capitoline Wolf and with one arm resting on a sculpture on which is carved the siren Parthenope to symbolize the cities of Rome and Naples, respectively. | Pietro Canonica |
The Vittoriano's external staircases fit the sides of the northern slope of the Capitoline Hill and lead, starting from the entrance in Piazza Venezia, to the terrace of the Altar of the Fatherland, then to the terrace of the redeemed cities (the one immediately below the colonnade of the sommoportico) and finally to the terraces of the two propylaea, which flank the sommoportico, constituting its entrances.[31]
The path along the staircase continues even beyond the tomb of the Unknown Soldier to symbolically represent a continuous and uninterrupted procession of Italians that continues its walk to the highest point of the building, namely the sommoportico and propylaea. The Vittoriano was conceived as a place where it is possible to take an uninterrupted patriotic walk (in fact, the route has no architectural end, since there are two entrances to the highest part, one for each propylaeum) among the works present, almost all of which have allegorical meanings related to the history of Italy.[35]
On either side of the entrance steps are a series of sculptures that accompany visitors to the Altar of the Fatherland.[37]
The artistic entrance gate to the Vittoriano, the work of Manfredo Manfredi, has the peculiarity of being "retractable," meaning that it can slide vertically underground by means of rails.[37]
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The Politics | This concept is allegorically rendered as a seated woman who turns her gaze to the left, toward the other statue located on the same doorway, The Philosophy. She holds a globe, a book, and a sword that points toward the ground: the latter two symbolize the strength, universality, and elevation of politics that later inspired the American Revolution, the French Revolution, and the Italian Risorgimento. | Nicola Cantalamessa Papotti | ||||||||||
The Philosophy | Philosophy is metaphorically represented by a woman with a pensive attitude with her right hand resting on her chin and her head lowered. The woman is bare-breasted to symbolize freedom of thought, a concept also rendered by the presence of flaps placed on her hairstyle. | Eugenio Maccagnani | ||||||||||
The War | War is allegorically rendered as a woman dressed as an ancient Roman holding an unsheathed sword while metaphorically defending freedom, a concept dear to the Enlightenment. | Ettore Ferrari | ||||||||||
The Revolution | The Revolution is metaphorically represented by a half-naked woman in the act of standing up. In her right hand she wields an axe, while on her head she wears a Phrygian cap, the symbol of the French Revolution. Her attitude is threatening and aggressive. |
From the two platforms where the gates giving access to the interior spaces open, two further flights of stairs depart, converging, exactly behind the Altar of the Fatherland, toward the base of the equestrian statue of Victor Emmanuel II: the latter is located on the second large raised platform, in order of height, of the Vittoriano.[49]
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The Strength | It is located to the left of the parapet above the Adriatic fountain. The sculptural group consists of a young Roman centurion overlooking a medieval crossbowman (a time when Italy was divided into multiple states: instead, during the Roman era, the peninsula was under a single banner, that of Rome) and a worker holding a pickaxe displaying a pensive pose. The concept of "strength" is expressed by the muscular mass of the Roman centurion, who is imposing and has a Michelangelo-like stance (thus mighty and majestic),[48] | -- auto-translated from Italian by Module:CS1 translator --> and by the overall shape of the sculptural group, which is triangular and angular. | Augusto Rivalta | |||||||||
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The Concord | It is located to the right of the parapet above the fountain of the Adriatic Sea. The sculptural group consists of a central figure, The Concord in the form of a woman with a cornucopia, who acts as a peacemaker accompanying the embrace between a Roman senator, representing The Principality, i.e., the Savoy monarchy, and a young man, who instead symbolizes The People, i.e., the Italian people. Another figure present is The Family in the form of a woman holding a child symbolizing the birth of the new state. Overall, the sculptural group allegorically communicates the birth of the Kingdom of Italy as an understanding between the Savoy monarchy and the Italian people. | Lodovico Pogliaghi | ||||||||||
The Sacrifice | It is located to the left of the parapet above the Tyrrhenian fountain. The sculptural group consists of four figures with a dying young fighter in the center who is supported by a man wearing broken slave chains on his wrists, symbolizing the regaining of freedom and dignity, which were obtained thanks to the warrior's sacrifice: the latter concept is communicated by another figure, the Genius of Liberty, who is leaning toward the fighter in the act of kissing him. Completing the sculptural group is a woman who impersonates The Family: women, during the Risorgimento period, were in fact seen as one of the most important examples of sacrifice, which was directed toward family and children. The sculptural group The Sacrifice is related to the previous sculpture The Strength, since the latter is essential to have the spiritual energy necessary to make sacrifices. | Leonardo Bistolfi | ||||||||||
The Law | It is located to the right of the parapet above the Tyrrhenian fountain. The sculptural group consists of four figures. In the center is The Liberty sheathing her sword after defeating The Tyranny, which is lying on the ground and leaving the scene to The Law. The latter turns his gaze toward The Tyranny communicating the fact that he is also its guarantor despite the despotic regimes' rejection of him. In the background, behind The Liberty and The Law, is The People, who are supported in their struggle for the national cause by the first two. | Ettore Ximenes |
On either side of the Altar of the Fatherland the staircase resumes by dividing into two ramps symmetrical and parallel to the tomb of the Unknown Soldier. Both reach a pronaos where two large portals stand (one on each side, both positioned symmetrically and laterally to the Unknown Soldier and each at one of the two propylaea) leading to the interior spaces of the Vittoriano.[49]
The four groups are 6 meters high and are located to the right and left of the entrance to the terrace of the Altar of the Fatherland (two on each side), to the side of the statues of The Thought and The Action, and at the fountains of the two seas, along the parapets overlooking Piazza Venezia.[48]
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These are six altars bearing the names of as many redeemed cities, which are surmounted by the respective municipal coat of arms. | p= 55"/> | ||||||||
Pula | |||||||||
Zadar | |||||||||
Rijeka |
In the center of the row of altars of the redeemed cities, engraved on the stylobate, i.e., on the vertical wall on which the colonnade of the sommoportico rests, is a monumental inscription carved on the occasion of the solemn burial ceremony of the Unknown Soldier (November 4, 1921), which bears the text of the Victory Bulletin, an official document written after the Armistice of Villa Giusti with which General Armando Diaz, supreme commander of the Royal Army, announced, on November 4, 1918, the surrender of the Austro-Hungarian Empire and Italy's victory in World War I.[57]
The statue of the goddess Roma present at the Vittoriano interrupted a custom in vogue until the 19th century that wanted its representation with exclusively warlike features: Zanelli decided to further characterize the statue by also providing a reference to Athena, the Greek goddess of wisdom and the arts as well as of war. The large statue of the goddess emerges from a golden background.[62]
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Female figures bearing honorary crowns to Roma | These are three figures followed by the labara and legionary insignia. | |||||||||||
Genius of Fatherland Love and the Hero | The Hero, whose cloak is raised by two female figures, leans on the great sword of the Titans; both figures stand on a triumphal chariot. | |||||||||||
Brazier of the Sacred Fire of the Fatherland | Depicts a brazier hanging from a beam, an element also present symmetrically in the procession of the Triumph of Labor. |
The Tomb of the Unknown Soldier is the scene of official ceremonies during the celebrations of the Anniversary of the Liberation of Italy (April 25), Italian Republic Day (June 2) and National Unity and Armed Forces Day (November 4), occasions when the President of the Italian Republic and the highest offices of state pay solemn homage to it.
After passing the Altar of the Fatherland and continuing up the staircase, one encounters the equestrian statue of Victor Emmanuel II, a bronze work by Enrico Chiaradia and the architectural centerpiece of the Vittoriano.[72]
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Freedom of Citizens | Bas-relief of the right propylaeum consisting of five figures, including a central one, toward which the other four rotate, allegorically representing the freedom of citizens. On the lintel is the inscription Civium Libertati ("to the freedom of citizens"). | Emilio Gallori | ||||||||||
Unity of the Fatherland | Bas-relief of the left propylaeum consisting of five figures, including a central one, toward which the other four rotate, allegorically representing the unity of the fatherland. On the lintel is the inscription Patriae Unitati ("to the unity of the fatherland"). | Enrico Butti[89] | -- auto-translated from Italian by Module:CS1 translator --> |
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The staircase leading to the terrace of the redeemed cities is the best vantage point for the statues of the regions of Italy, which are located on the frieze of the sommoportico, each corresponding to a column.[90]
Below is the description in detail of the quadrigas:
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Quadrigas with winged victory of citizens' freedom | Bronze statue representing a quadriga led by a winged Victory. Placed on the right propylaeum, it metaphorically symbolizes the freedom of citizens. | Paolo Bartolini | ||||||||||
Quadriga with winged Victory of the unity of the homeland | Bronze statue representing a quadriga led by a winged Victory. Placed on the left propylaeum, it metaphorically symbolizes the unity of the homeland. | Carlo Fontana |
Inside the pediments of the two propylaea are sculptural groups that have the same theme as the respective quadriga above:[89]