These inscriptions can be read in the Ministry of Public Education (Viale di Trastevere 76a), designed by Cesare Bazzani (1873–1939) and inaugurated on 28 October 1928. They are only a very small part of the inscriptions in the pictorial decorations of the palazzo’s principal floor (piano nobile). There are 36 Latin inscriptions in total, but only these three have political connotations closely linked with the Fascist regime. Because the texts are strictly linked with the paintings, their authors are likely the painters themselves, but unfortunately we cannot be sure about this.  

The first two inscriptions are depicted in red Roman capitals in the Hall of Meetings (also known as Hall of Honour or Hall of Ministers), over the doors of the long side of the room. They are part of the walls’ pictorial frieze by Antonino Calcagnadoro (1876–1935), representing education and knowledge in the archaic, Roman, medieval, and Renaissance periods. The inscriptions refer to the Roman era, represented by the statue of goddess Rome at the centre to which barbarians bow, with military insignia and a procession of senators in the background.

The first inscription (1) is in a panel that shows, at its centre, spears topped by a helmet and surrounded by shields, military insignia, and prows of triremes. The text consists in a fragment from The Laws of the Twelve Tables (XII Tab. 3.7 Bruns = 6.4 Crawford), quoted by Cicero (Off. 1.37) (although he wrote hostem instead of hostes). In ancient Rome, these words signified the inalienable right of Roman citizens to claim ownership against a foreigner. So, according to archaic Latin, hostis means “foreigner” here and not “enemy”, and auctoritas “legal right” and not “authority” resulting from victory in war. In modern times, and especially in nationalist contexts of use, the sentence was made to mean that no forgiveness is permitted towards enemies, even though the original significance of the phrase was known (Fumagalli 1921: no 1170; Tosi 2017: no 1434). Given the iconographic context exalting Roman military power, the latter meaning seems to be implied here.

The second inscription (2) is in a panel showing at its centre the head of Minerva, surrounded by olive branches, a snake, military insignia, three open books, and lit torches. The text refers to Minerva, goddess both of wisdom and just war, and recalls a passage from Cicero (De republica 2.43) concerning monarchy: Is est autem status ut unius perpetua potestate et iustitia uniusque sapientia regatur salus et aequabilitas et otium civium (“However, this form of government exists in order that, thanks to the perpetual executive and juridical power and the wisdom of only one man, safety, equality, and leisure of citizens are granted”). If Cicero’s words are to be regarded as the source of the inscription, the author probably wanted to relate monarchy and the Fascist dictatorship to one another, granting to Mussolini’s regime the same positive features of the one-man-government described there.

The third inscription (3) can be read inside the Antechamber of the Undersecretary, whose pictorial decorations are by Rodolfo Villani (1881–1941). The text is in Roman capitals, placed in the lunette over the window showing an allegorical representation of the civil and spiritual authority of Rome. Rome’s civil authority was represented by a nude figure of a knight with the face of Mussolini embracing fasces and preceded by a Roman soldier. After World War II, the figure of Mussolini was changed into Mercury embracing the caduceus. Rome’s spiritual authority is represented by a Franciscan friar and a crusader. At the top of the panel, a painted architrave spans both scenes, bearing the Virgilian words Tu regere imperio populos, Romane, memento (Aen. 6.851). This line, expressive of the ideology of the Augustan principate, became a commonplace during the Fascism and was often cited in propaganda (Strobl 2013: 101–14, Nastasi 2020: 180–87; see the inscription in the “Aula Giulio Cesare” in Palazzo Senatorio, on Capitoline Hill, and the one once adorning the Vittoriano in Piazza Venezia). Here, Vergil’s admonition serves to bind together the most important stages of the history of Rome as the regime saw it, represented by the Roman Empire, Roman Catholic Christendom and the papacy, and Fascist Italy.

The Fascist dating A(nno) VI was inscribed on a milestone depicted on the ground in the lunette’s left corner but was later deleted.

Bibliography

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Antonino Nastasi