THE MAKING of MODERN ROME: a CITY TRANSFORMED Lecture 1

Total Page：16

File Type：pdf, Size：1020Kb

THE MAKING OF MODERN ROME: A CITY TRANSFORMED Lecture 1 – The Roman Question: Excavation and Foundation JAMES HILL – 1 JUNE, 2021 READING LIST Matthew Sturgis When In Rome: 2000 Years of Roman Sightseeing, 2011, Francis Lincoln Publishers Matthew Neale Rome: A History in Seven Sackings – From the Gauls to the Nazis, 2017, Atlantic Books Alex Potts Flesh and the Ideal: Winckelmann and The Origins of Art History, 1994, Yale University Press Filippo Coarelli Rome and Environs: An Archeological Guide, 2007, University of California Press Christopher Duggan. The Force of Destiny: A History of Italy since 1796, 2007, Penguin Christopher Hibbert Rome: The Biography of a City, 1985, Penguin SLIDE LIST Jacques Louis David, The Coronation of Napoleon, 1807, Louvre, Paris Carlo Lusino, Pius VII enters Rome on 24th of May 1814, 1814, Private Collection Henrick Frans Van Lint, Piazza del Popolo, c.1750 circa, Private Collection Jean Baptiste Wicar, Portrait of Giuseppe Valadier, 1827, Accademia di San Luca, Rome Giuseppe Valadier, Casina Valadier, 1827, Rome Thomas Lawrence, Portrait of Cardinal Ercole Consalvi, 1819, Royal Collection, Windsor Antonio Canova, Stuart Memorial, 1819, St Peter’s Basilica, Vatican City Gaspar Van Wittel, View of the Arch of Titus, 1710 circa, Private Collection Abraham Ducros, Temple of Fortuna Virilis, 1780, Museo di Roma, Rome William Pars, Interior of the Colosseum, 1775, Tate Britain, London Richard Deakins, from The Flora of the Colosseum, 1855 Unknown, Aftermath of the Destruction of St Paul’s Outside of the Walls, 1823 Thomas Jones, Villa Medici, 1776, Paul Mellon Center for British Art, Yale University, Newhaven, USA Jacques Alphonse Testard, General View of Rome, c.1840 circa, Private Collection Ferdinando Cavalleri, Procession of Pope Gregory XVI on the Corpus Christi Feast Day, 1840, Museo di Roma, Rome Photo of Pope Pius IX, 1860s Annibale Angelini, Ponte del Soldino, 1869, courtesy of the Berardi Art Gallery, Rome Michelangelo Pacetti, Pope Pius IX’s Sermon in the Roman Forum, 1855, Museo di Roma, Rome Jean Victor Louis Faure, A View of the Forum Romanum, c.1820, Private Collection Unknown, Portrait of Johann Joachim Winckelmann, 1760, The Royal Castle Collection, Warsaw, Poland Giovanni Carnevali, Guido Baccelli, Giacomo Boni e Felice Barnabei Asssistono agli Scavi del Foro Romano, 1900, Museo di Roma, Rome Photograph of Rodolfo Lanciani and colleagues, c.1885, Museo di Roma, Rome Rodolfo Lanciani, Forma Urbis Romae, 1893-1901 Photo of Rome Termini, 1890, Museo di Roma, Rome Photo of Excavations on Quirinal Hill, 1885, Courtesy of Museo Nazionale Palazzo Massimo alle Terme, Rome Boxer at Rest, c.350-50 BC, Museo Nazionale Palazzo Massimo alle Terme, Rome Carlo Addemolo, La Breccia di Porta Pia, 1880, Museo del Risorgimento, Milano Andrea Bestighi, Portrait of Victor Emanuel II, c.1870, Museo di Roma, Rome Photo of Via Nazionale, c.1955 Unknown, Map of Turin, 1894, Museo di Torino Photo of Via Veneto, 1965 Thomas Bowles, Villa Ludovisi, 1819, Private Collection Rodolfo Lanciani, Forma Urbis Romae, 1893-1901 Villa della Farnesina, Cubiculum E of ancient villa on site of later renaissance era gardens, 1st cent BC, Museo Nazionale Palazzo Massimo alle Terme, Rome Giuseppe Primoli, Along the Tiber, 1890, Museo di Roma, Rome .

Copy Link

Recommended publications

Canova's George Washington
CANOVA’S GEORGE WASHINGTON EXHIBITION ADDRESSES CANOVA’S ONLY WORK FOR UNITED STATES May 23 through September 23, 2018 In 1816, the General Assembly of North Carolina commissioned a full-length statue of George Washington to stand in the rotunda of the State Capitol, in Raleigh. Thomas Jefferson, believing that no American sculptor was up to the task, recommended Antonio Canova (1757– 1822), then one of Europe’s most celebrated artists. The first and only work Canova created for the United States, the statue depicted the nation’s first president in ancient Roman garb—all’antica armor—per Jefferson’s urging, drafting his farewell address to the states. It was unveiled to great acclaim in 1821. Tragically, a decade later, a fire swept through the State Capitol, reducing the statue to a few charred fragments. On May 23, The Frick Collection presents Canova’s George Washington, an exhibition that examines the history of the artist’s lost masterpiece. The show brings together for the first time all of the objects connected to the creation of the sculpture— including a remarkable life-sized Antonio Canova, Modello for George Washington (detail), 1818, modello that has never before left Italy—and tells the extraordinary plaster, Gypsotheca e Museo Antonio Canova, Possagno, Italy; photo Fabio Zonta, Fondazione Canova onlus, Possagno transatlantic story of this monumental work. The life-size modello, above, provides the closest idea of what the destroyed marble would have looked like. It is shown in the Frick’s Oval Room—alone—to replicate the effect it would have had in the rotunda of North Carolina’s State Capitol.
[Show full text]
Scarica Il Pdf Gratuito Del Volume
CARTE SCOPERTE collana dell’Archivio Storico Capitolino 2 Direzione della collana Mariarosaria Senofonte, Laura Francescangeli, Vincenzo Frustaci, Patrizia Gori, Elisabetta Mori Consulenti scientifici Mario Bevilacqua, Marina D’Amelia, Marco De Nicolò, Anna Esposito, Francesco Giovanetti, Simona Lunadei, Paola Pavan, Maria Grazia Pastura, Carlo Maria Travaglini Segreteria di redazione Maria Teresa De Nigris e-mail: [email protected] Laura Francescangeli Politiche culturali e conservazione del patrimonio storico-artistico a Roma dopo l’Unità Il Titolo 12 “Monumenti Scavi Antichità Musei” 1871-1920 viella © 2014 Viella s.r.l. – Archivio Storico Capitolino Tutti i diritti riservati Prima edizione: giugno 2014 ISBN (carta) 978-88-6728-061-2 ISBN (e-book) 978-88-6728-251-7 Alla schedatura della serie Archivio Generale, Titolo 12 “Monumenti Scavi Antichità Musei” (1871 - 1920) hanno collaborato le dottoresse Emilia Cento, Costanza Lisi, Elena Polidori nell’ambito di un’esercitazione condotta in collaborazione con la professoressa Paola Carucci docente di Archivistica Generale presso la Scuola Speciale per Archivisti e Bibliotecari dell’Università La Sapienza, nell’anno accademico 1993-1994. Copertina: Studio Polo 1116 viella libreria editrice via delle Alpi, 32 I-00198 ROMA tel. 06 84 17 758 fax 06 85 35 39 60 www.viella.it Indice Flavia Barca, Presentazione 7 Marco De Nicolò, Il patrimonio storico-culturale e artistico di Roma e la classe dirigente: le fonti per nuove ricerche 9 INTRODUZ I ONE 13 1. L’ Archivio Generale (1871-1922) del Comune postunitario e la serie documentaria del Titolo 12 “Monumenti Scavi Antichità Musei” 17 2. Le strutture per la tutela delle antichità e belle arti: lo Stato unitario e il Municipio di Roma Capitale 30 3.
[Show full text]
Michelangelo's Locations
1 3 4 He also adds the central balcony and the pope’s Michelangelo modifies the facades of Palazzo dei The project was completed by Tiberio Calcagni Cupola and Basilica di San Pietro Cappella Sistina Cappella Paolina crest, surmounted by the keys and tiara, on the Conservatori by adding a portico, and Palazzo and Giacomo Della Porta. The brothers Piazza San Pietro Musei Vaticani, Città del Vaticano Musei Vaticani, Città del Vaticano facade. Michelangelo also plans a bridge across Senatorio with a staircase leading straight to the Guido Ascanio and Alessandro Sforza, who the Tiber that connects the Palace with villa Chigi first floor. He then builds Palazzo Nuovo giving commissioned the work, are buried in the two The long lasting works to build Saint Peter’s Basilica The chapel, dedicated to the Assumption, was Few steps from the Sistine Chapel, in the heart of (Farnesina). The work was never completed due a slightly trapezoidal shape to the square and big side niches of the chapel. Its elliptical-shaped as we know it today, started at the beginning of built on the upper floor of a fortified area of the Apostolic Palaces, is the Chapel of Saints Peter to the high costs, only a first part remains, known plans the marble basement in the middle of it, space with its sail vaults and its domes supported the XVI century, at the behest of Julius II, whose Vatican Apostolic Palace, under pope Sixtus and Paul also known as Pauline Chapel, which is as Arco dei Farnesi, along the beautiful Via Giulia.
[Show full text]
Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676.
[Show full text]
Dep MUSEO Di ROMA Dic19
Questo palazzo rappresenta uno degli esempi più belli di architettura civile Palazzo Braschi represents one of the finest examples of civil architecture in a Roma tra Sette e Ottocento. Rome between the 18th and 19th centuries. Fu costruito per il nipote di papa Pio VI, Luigi Braschi Onesti che vi abitò con It was built for the nephew of Pope Pius VI, Luigi Braschi Onesti, who lived here sua moglie Costanza Falconieri fino al 1816, esercitando qui anche le sue with his wife Costanza Falconieri until 1816, exercising also his functions as funzioni di Sindaco di Roma durante il breve governo napoleonico. L’edificio Mayor of Rome during the short-lived Napoleonic government. The building chiude simbolicamente la lunga stagione del nepotismo papale a Roma, di symbolically concludes the long season of papal nepotism in Rome, of which is MUSEO cui è espressione piena nello sfarzo e nell’eleganza dei dettagli e delle a full expression for the splendour and elegance of the details and formal soluzioni formali. Lo scalone monumentale che conduce ai piani nobili è solutions. The monumental staircase that leads to the piano nobile is finely finemente decorato di stucchi con i simboli araldici dei proprietari e decorated with DI ROMA riquadri con storie dell’epica omerica, secondo il gusto antiquariale e la cifra stuccoes, bearing the stilistica del Neoclassicismo. Ciò che l’occhio non può vedere, invece, è coat of arms of the l’ottima acustica di questo invaso, progettato come l’intero edificio da owners and square Cosimo Morelli (1732-1812), ma con la supervisione di Giuseppe Valadier, frames with stories of principe degli architetti del the Homeric epics in the ultimo aggiornamento ottobre 2018 ottobre ultimo aggiornamento 30.000 - 09/10/2018 Srl stampa: Gemmagraf - copie tempo, che molto probabilmente antiquarian taste and ispirò anche la realizzazione Neoclassical style.
[Show full text]
Revised Final MASTERS THESIS
UNIVERSITY OF CALIFORNIA RIVERSIDE Carlo Fontana and the Origins of the Architectural Monograph A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Juliann Rose Walker June 2016 Thesis Committee: Dr. Kristoffer Neville, Chairperson Dr. Jeanette Kohl Dr. Conrad Rudolph Copyright by Juliann Walker 2016 The Thesis of Juliann Rose Walker is approved: Committee Chairperson University of California, Riverside Acknowledgements I would first like to start by thanking my committee members. Thank you to my advisor, Kristoffer Neville, who has worked with me for almost four years now as both an undergrad and graduate student; this project was possible because of you. To Jeanette Kohl, who was integral in helping me to outline and finish my first chapter, which made the rest of my thesis writing much easier in comparison. Your constructive comments were instrumental to the clarity and depth of my research, so thank you. And thank you to Conrad Rudolph, for your stern, yet fair, critiques of my writing, which were an invaluable reminder that you can never proofread enough. A special thank you to Malcolm Baker, who offered so much of his time and energy to me in my undergraduate career, and for being a valuable and vast resource of knowledge on early modern European artwork as I researched possible thesis topics. And the warmest of thanks to Alesha Jeanette, who has always left her door open for me to come and talk about anything that was on my mind. I would also like to thank Leigh Gleason at the California Museum of Photography, for giving me the opportunity to intern in collections.
[Show full text]
Reviews Summer 2020
$UFKLWHFWXUDO Marinazzo, A, et al. 2020. Reviews Summer 2020. Architectural Histories, 8(1): 11, pp. 1–13. DOI: +LVWRULHV https://doi.org/10.5334/ah.525 REVIEW Reviews Summer 2020 Adriano Marinazzo, Stefaan Vervoort, Matthew Allen, Gregorio Astengo and Julia Smyth-Pinney Marinazzo, A. A Review of William E. Wallace, Michelangelo, God’s Architect: The Story of His Final Years and Greatest Masterpiece. Princeton and Oxford: Princeton University Press, 2019. Vervoort, S. A Review of Matthew Mindrup, The Architectural Model: Histories of the Miniature and the Prototype, the Exemplar and the Muse. Cambridge, MA, and London: The MIT Press, 2019. Allen, M. A Review of Joseph Bedford, ed., Is There an Object-Oriented Architecture? Engaging Graham Harman. London and New York: Bloomsbury Academic, 2020. Astengo, G. A Review of Vaughan Hart, Christopher Wren: In Search of Eastern Antiquity. London: Yale University Press, 2020. Smyth-Pinney, J. A Review of Maria Beltramini and Cristina Conti, eds., Antonio da Sangallo il Giovane: Architettura e decorazione da Leone X a Paolo III. Milan: Officina libraria, 2018. Becoming the Architect of St. Peter’s: production of painting, sculpture and architecture and Michelangelo as a Designer, Builder and his ‘genius as entrepreneur’ (Wallace 1994). With this new Entrepreneur research, in his eighth book on the artist, Wallace mas- terfully synthesizes what aging meant for a genius like Adriano Marinazzo Michelangelo, shedding light on his incredible ability, Muscarelle Museum of Art at William and Mary, US despite (or thanks to) his old age, to deal with an intri- [email protected] cate web of relationships, intrigues, power struggles and monumental egos.
[Show full text]
Villa Borghese
Piazza del Campidoglio 5 Centro Storico 6 Gianicolo - Trastevere - Villa Pamphili 19 Villa Borghese - Flaminio Nomentana - San Basilio 21 Polo museale “Sapienza” 26 Testaccio - Ostiense - Garbatella 28 Eur - Ostia - Fiumicino 30 Appia - Casilina 31 Cassia - Flaminia 32 Prenestina - Pigneto 32 Ingresso libero fino Ingresso contingentato ad esaurimento posti Prenotazione consigliata Ingresso a pagamento Dove non espressamente o obbligatoria indicato l’iniziativa è gratuita. Il programma può subire variazioni. Programma aggiornato all’11 maggio 2012 Info 060608 www.museiincomuneroma.it Piazza del Campidoglio sulla piazza Ore 21.00-22.30 “Meno male che c’è Radio 2” Il programma di Radio 2 in diretta, presentato da Simone Cristicchi e Nino Frassica, con vari ospiti e musicisti. Musei Capitolini Orario 20.00-02.00 (ultimo ingresso ore 01.00) Il Museo pubblico più antico del mondo, fondato nel 1471 da Sisto IV con la donazione al popolo romano dei grandi bronzi lateranensi, si articola nei due edifici che insieme al Palazzo Senatorio delimitano la piazza del Campidoglio. Il Gioco del Lotto offrirà mediatori storici dell’arte a disposizione del pubblico per rispondere alle domande sulle opere esposte. MOSTRA Lux in Arcana - L’Archivio Segreto Vaticano si rivela Ore 20.30 Premio Strega. Incontro con l’autore Gianrico Carofiglio Il silenzio dell'onda (Rizzoli) Presenta Franco Scaglia, Presidente del Teatro di Roma. Ore 21.30, 22.45 e 24.15 Le Romane La canzone romana è il luogo d’incontro di questa formazione acustica tutta al femminile, dove la serenata ed il canto della popolana si mescolano ai versi di grandi autori come Pasolini e Strehler e alle musiche di Rota, Umiliani, Carpi, Rustichelli, Trovajoli, Balzani; dal linguaggio prezioso delle parole di Gadda, Giuliani, Fabrizi, Belli, Trilussa, tornano alla mente immagini forti piene di ironia e passione.
[Show full text]
Robert Venturi & Denise Scott Brown. Architecture As Signs and Systems
Architecture as Signs and Systems For a Mannerist TIme Robert Venturi & Denise Scott Brown THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS· CAMBRIDGE, MASSACHUSETTS· LONDON, ENGLAND· 2004 Art & Arch e'J' ,) re Library RV: Washington u:'li \/(H'si ty Campus Box 1·,):51 One Brookin18 Dr. st. Lg\li,s, !.:0 &:n:W-4S99 DSB: RV, DSB: Copyright e 2004 by Robert Venturi and Denise Scott Brown All rights reserved Printed in Italy Book Design by Peter Holm, Sterling Hill Productions Library of Congress Cataloging-in-Publication Data Venturi, Robert. Architecture as and systems: for a mannerist time I Robert Venturi and Denise Scott Brown. p. em. - (The William E. Massey, Sr. lectures in the history of American civilization) Includes bibliographical references and index. ISBN 0-674-01571-1 (alk. paper) 1. Symbolism in architecture. 2. Communication in architectural design. I. Scott Brown, Denise, 1931- II. Title. ill. Series. NA2500.V45 2004 nO'.I-dc22 200404{)313 ttext," for show his l them in lied "that le most of 'espitemy to be an me of our 19 studies, mth these Architecture as Sign rather than Space ecause if I New Mannerism rather than Old Expressionism 1geswon't ROBERT VENTURI ,the com :tronger ::ople who . work and lity to the _~.'n.•. ~~~,'~'"'.".'."_~ ____'_''''"'«'''.'''''',_",_.""",~",-,-" ".,-=--_""~ __ , ..... """'_.~~"',.._'''''_..._,,__ *' ...,',.,..,..... __ ,u~.,_~ ... mghai, China. 2003 -4 -and for Shanghai, the mul A New Mannerism, for Architecture as Sign . today, and tomorrow! This of LED media, juxtaposing nbolic, and graphic images at So here is complexity and contradiction as mannerism, or mannerism as ing.
[Show full text]
Giuseppe Valadier Et L'arc De Titus
Coup d'oeil rétrosI)ectif DE~EK LINSTRUM FIG. 1. Giovanni Battista Wicar; portrait de Giuseppe Valadier, 1827 (Accademia di S. I~1Ica, Rome). MOnHmentHm 25(1) 43-71, 1982 44 Le premier pas que fait l'esprit de l'étranger qui aime les ruines (c'est-à-dire dont l'âme un peu mélancolique trouve du plaisir à fair abstraction de ce qui est, et à se figurer tout un édifice tel qu'on le voyait jadis, quand il était fréquenté par les hommes portant la toge); le premier pas que fait un tel esprit, dis-je, est de distinguer les restes des travaux du Moyen Age entrepris vers l'an 1300, pour servir à la défense, de ce qui fut construit plus anciennement pour donner la sensationdu beau. T{:l fit Stendhal musant sur les ruines de la Rome antique en 1828.1 Mais si son imagination pouvait se donner libre cours, en revanche il pensait-et il n'était pas le seul-qu'une réalisation en trois dimensions et avec du solide matériau neuf était pour le moins douteuse. Restaurer, écrivait-il, c'est 'deviner la forme de l'ancien bâtiment et nous en présenter les plans, cotlpeset élévations;mais qui jugera de la ressemblance?'2 Et lorsque ses pr,:>menadeslittéraires le conduisirent à l'Arc de Titus à l'extrémité est du Forum Romain, son mépris pour ce qu'il appele cette 'infamie' ne connut pas de bornes: 'Ce petit arc de triomphe si joli. ..fut le plus élégant jusqu'à l'époque fatale où il a été refait par M.
[Show full text]
Lista De Descontos PASSE CIRCUITO MUSEUS/SÍTIOS
Lista de descontos Preço para Um bilhete / Preço quem possui PASSE CIRCUITO MUSEUS/SÍTIOS Circuito original o Passe Roma ARQUEOLÓGICOS DE ROMA € € Centrale Montemartini Um bilhete 5,50 4,50 Galleria Nazionale d'Arte Antica in Palazzo Barberini Um bilhete 5,00 2,50 Galleria Nazionale d'Arte Antica in Palazzo Corsini Um bilhete 4,00 2,00 Galleria Nazionale d'Arte Moderna e Contemporanea GNAM Um bilhete 8,00 4,00 Galleria Spada Um bilhete 5,00 2,50 MACRO - Museo d'Arte contemporanea + MACRO Testaccio Um bilhete 11,00 9,00 MAXXI - Museo Nazionale delle Arti del XXI secolo Um bilhete 11,00 8,00 Mercati e Fori di Traiano Um bilhete 8,50 6,50 Musei Capitolini Um bilhete 8,50 6,50 Musei di Villa Torlonia - Casina delle Civette Um bilhete 4,00 3,00 Musei di Villa Torlonia Casino Nobile Um bilhete 5,50 4,50 Museo Carlo Bilotti - Aranciera di Villa Borghese Um bilhete 5,50 4,50 Museo Civico di Zoologia Um bilhete 7,00 4,50 Museo della Civiltà Romana Um bilhete 7,50 5,50 Museo dell'Ara Pacis Um bilhete 7,50 5,50 Museo delle Mura Um bilhete 4,00 3,00 Museo di Roma - Palazzo Braschi Um bilhete 7,50 5,50 Museo di Roma in Trastevere Um bilhete 4,00 3,00 Museo di Scultura Antica Giovanni Barracco Um bilhete 5,50 4,50 Museo di Scultura Antica Giovanni Barracco Um bilhete 5,50 4,50 Museo e Galleria Borghese (obligatory booking T. Um bilhete + 6,00 + +39 0632810) taxa de reserva 2,00 3,25 + 2,00 Museo Napoleonico Um bilhete 5,50 4,50 Museo Nazionale d'Arte Orientale Um bilhete 6,00 3,00 Museo Nazionale degli Strumenti Musicali Um bilhete 4,00 2,00 Museo
[Show full text]
395 Rome's Physician
MEDICINA NEI SECOLI ARTE E SCIENZA, 25/2 (2013) 395-414 Journal of History of Medicine Articoli/Articles ROME’S PHYSICIAN: GUIDO BACCELLI AND HIS LEGACY IN THE NEW ITALIAN CAPITAL LUCA BORGHI FAST - Istituto di Filosofia dell’Agire Scientifico e Tecnologico, Università Campus Bio-Medico di Roma, I. SUMMARY ROME’S PHYSICIAN: GUIDO BACCELLI AND HIS LEGACY IN THE NEW ITALIAN CAPITAL Many Italian physicians played a more or less relevant role in the military, social and political events which paved the way to and accompanied the birth of the unitary State, which 150th anniversary falls in 2011, but probably just one of them, Guido Baccelli (1832-1916), left so many traces in the very landscape of the present-day Italian capital. Even if the millions of tourists pouring into Rome every year are not aware of it, the vision and tenacity of this celebrated physician lay behind quite a lot of the most typical and popular places of the Eternal City. Baccelli, as a politician, took care of his home town with the same kindness and effectiveness he put, as a physician, in the care of the sick. In 2011 Italy celebrates the 150th anniversary of its national unifica- tion, that is the birth of a unitary State from the seven little States which filled the Italian peninsula until then. But that process, started in 1861, would be accomplished only in 1870, with the conquest of the Papal States and the move to Rome of the capital city of the new Reign. Many Italian physicians played a more or less relevant role in the military, social and political events which paved the way to and Key words: Italian unification - Cultural heritage - Town planning - Hospital 395 Luca Borghi accompanied the birth of the unitary State1, but probably just one of them, Guido Baccelli (1832-1916), has left so many traces in the very landscape of the present-day Italian capital.
[Show full text]