Rome (IT), Piazza Augusto Imperatore [extant] - 1940
The
inscriptions (1940) can be read in Piazza Augusto Imperatore, on the wall between Via del Corea and Via Soderini. The
author of both texts is unknown.
The main and most substantial inscription (1) is
sculpted over the fountain in sans-serif capitals in heavy relief of monumental
dimensions, showing on its sides two winged Victories bearing fasces in
bas-relief. Its massive shape bears resemblance to another Latin inscription of
the same year, then in the Fountains Hall of the Palazzo degli Uffici of EUR
(no longer extant).
The
text rhetorically celebrates the construction of the whole complex of Piazza
Augusto Imperatore. First, it recalls the archaeological excavations that
brought to light the Mausoleum of the Emperor Augustus standing at the centre
of the open area as well as the reconstruction of the Ara
Pacis Augustae (“Altar to Augustan peace”) on the side of the square
facing the Tiber (which was not its original location). Secondly, it underlines
the demolition of the early modern ‘squalid’ structures so as to clear the way
for modern buildings by the will of Mussolini. The words resonate with the
speech on the subject delivered by the Duce on 22 October 1934, the starting
day of mausoleum’s rescuing works (see Muñoz 1938: 491–92).
The
text is accurately written: the words volitant per auras recall two passages of Lucretius (4.32: volitant ultroque citroque per auras about atoms; 4.221: Nec variae cessant voces volitare per auras about sounds) and disiecta
membra, to denote the fragments of the Ara
Pacis, are reminiscent of Horace (Serm. 1.4.62), while the asyndetic
tricolon viis aedificiis aedibus is also remarkable.
The name Mussolini, his epithet Dux, and the Fascist
dating style were covered with plaster after World War II (Ferraironi 1953:
227–28). However, due to weathering, they became partially readable again
afterwards and were fully restored in 2001 (Aicher 2000: 117, n. 1; Bartels
2012: no. 6.3, n. 4).
The other inscription (2) is
located above the previous one in the lower
part of the mosaic designed by Ferruccio Ferrazzi (1891–1978). The work was
commissioned in December 1938 and is dated to 1940 (the Roman year MCMXL can be
read at the trunk’s feet on the left), although it was finished not before
April 1941 (Cambedda and Tolomeo 1991: 31). The inscription was executed in mosaic as a caption to the scene above, which was intitled The Birth of Rome (‘La nascita di
Roma’). It represents the foundation myth of the city and the personification
of the river Tiber as a young man carrying a boat, with Romulus and Remus and
the she-wolf at his feet; each human figure is identified by his Latin name (Tiberis; Romulus; Remus).
The text directly quotes from
the preface of Livy’s history Ab Urbe
condita: Res est praeterea et
immensi operis, ut […] quae ab exiguis profecta initiis eo creverit
ut iam magnitudine laboret sua (Liv. praef.
4: “the res involves infinite
labour, seeing that it must be traced back above seven hundred years, and that proceeding from slender beginnings it
has so increased as now to be burdened by its own magnitude”; transl. after
B.O. Foster). The untranslated word res is
ambiguous, because it can denote both Livy’s work and the res publica (i.e., the Roman state),
whose history and development are the subject of Livy’s book. In the
inscription, the added words his (with
deictic value) and Roma direct
readers’ understanding towards the latter interpretation. By adding his and Roma,
the line has the rhythm (not the quantities) of a dactylic hexameter, a detail
suggesting that Ferrazzi did not compose the inscription himself.
Piazza Augusto Imperatore was designed by Vittorio
Morpurgo (1890–1966, who added his maternal surname Ballio after the racial
laws in 1938), one of the most important Italian architects of the 1930s. It
was financed by the Fascist National Welfare Institute (Istituto Nazionale
Fascista della Previdenza Sociale, INFPS, today’s INPS, which closed its
offices in the building in 2012) and supported by the archaeologists involved
in the excavations of the site. The design aimed at restoring Augustus’ tomb to
its former prominence. The project’s propagandistic aim was to underline the
imagined historical, political, and imperial continuity between ancient and
Fascist Rome, presenting Mussolini as a “new Augustus”. This was consistent
with the ideological purpose of the celebration of the bimillenary anniversary
of Augustus’s birth, starting on 23 September 1937, and dominated by the
large-scale exhibition ‘Mostra Augustea della Romanità’.
Bibliography
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essere Cesare, Morì Vespasiano»: The Afterlives of Mussolini’s Rome’. Civiltà
Romana 1:
283–302.
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Anna, and Maria Grazia Tolomeo. 1991. Una
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Francesco. 1953. ‘Iscrizioni ornamentali di Roma scomparse’. Strenna dei Romanisti 14: 226–30.
Kostof, Spiro. 1978. ‘The
Emperor and the Duce: The Planning of Piazzale Augusto Imperatore’. In Art and Architecture in the Service of Politics,
edited by Linda Nochlin and Henry A. Millon. Cambridge (MA): MIT press,
270–325.
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Press, no. 10.5.
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Antonio. 1938. ‘La sistemazione del Mausoleo di Augusto’. Capitolium 13 (10): 491–508.
Nastasi,
Antonino. 2019. Le iscrizioni in latino
di Roma Capitale (1870-2018). Rome: Edizioni Quasar, 72–76.
Antonino
Nastasi
Inscription at Piazza Augusto Imperatore © A. Nastasi (Rome).
Inscription at Piazza Augusto Imperatore © A. Nastasi (Rome).