En plus de remanier le cœur antique de la ville, du Circus Maximus au théâtre de Marcellus et de l’arc de Constantin à Largo Argentina, les autorités ont percé une deuxième grande artère, traversant cette fois le vieux quartier entre le Vatican et le Tibre. [25], On the base of the equestrian statue of Victor Emmanuel II are sculptural depictions of 14 Italian noble cities, or rather the capitals of Italian states founded before the Savoy monarchy. Sa population est de 10 315 habitants (au 31 décembre 2005) répartie sur une superficie de 473,82 hectares. [2] It occupies a site between the Piazza Venezia and the Capitoline Hill. The vertical wall opposite the columns is decorated at the top with mosaics at gilded backgrounds, after 1925. [17], The allegorical meaning of the perpetually burning flames is linked to their symbolism, which is centuries old, since it has its origins in classical antiquity, especially in the cult of the dead. [3] The two fountains therefore represent the two major Italian seas and, therefore, in this perspective the Vittoriano is assimilated to the Italian Peninsula. [7], The structure is 135 m (443 ft) wide, 130 m (427 ft) deep, and 70 m (230 ft) high. Les architectes chargés du projet étaient : Marcello Piacentini entouré de Giuseppe Pagano, Luigi Piccinato, Ettore Rossi, Luigi Vietti. Très touristique. The crucifixion of Jesus is located above the tomb of the Unknown Soldier, where, on the walls, stand the patron saints of the Italian Armed Forces: Saint Martin patron of the infantry, Saint George of the cavalry, Saint Sebastian of the local police and Saint Barbara of the Italian Navy, bomb squad and military engineers. [31] The mosaics of Bargellini, along the highest part of the walls, represent figuratively The Faith, The Force, The Work and The Wisdom. Rizzi dedicated himself, along the highest part of the vertical walls, to The Law, The Value, The Peace, The Union and The Poetry. La place des Nations unies constitue une sorte d'entrée dans le quartier. [10], From a stylistic perspective, the architecture and works of art that embellish the Vittoriano have been conceived with the aim of creating a "national style" to be replicated in other areas. The two perennial braziers next to the Tomb of the Unknown Soldier is placed a plaque whose text reads "Italians Abroad to the Motherland" in memory of donations made by Italian emigrants between the end of the 19th century and the beginning of the 20th century for the construction of the Vittoriano. [11][24], The bas-relief on the left of the Altar of the Fatherland represents the Triumph of Labour and the one on the right symbolizes the Triumph of the Patriotic Love where both converge scenically towards the statue of the goddess Rome. [8], The Altar of the Fatherland is the most famous part of the Vittoriano and is the one with which it is often identified. [10], The statue of the goddess Roma present at the Vittoriano interrupted a custom in vogue until the 19th century, by which the representation of this subject was with exclusively warlike traits. [17], His tomb is a symbolic shrine that represents all the fallen and missing of the war. [17] Her son's body was never recovered. [12], After the First World War the Vittoriano was chosen to house the tomb of the Unknown Soldier, or the burial of an Italian soldier who died during the First World War whose identity remains unknown due to the serious injuries that made the body unrecognizable, which represents all the Italian soldiers who died during the wars. On its summit there would have been a majestic portico characterized by a long colonnade and two imposing propylaea, one dedicated to the "unity of the homeland", and the other to the "freedom of the citizens", concepts metaphorically linked to the figure of Victor Emmanuel II. Above each door are two statues; on the left door are The Politics and The Philosophy, while on the right door are two statues depicting The War and The Revolution. The Victor Emmanuel II National Monument (Italian: Monumento Nazionale a Vittorio Emanuele II) or (mole del) Vittoriano, called Altare della Patria (English: Altar of the Fatherland), is a national monument built in honour of Victor Emmanuel II, the first king of a unified Italy, located in Rome, Italy. [8] Throughout the second half of the 20th century, however, its significance as a symbol of national identity started to decline as the public opinion started to perceive it as a cumbersome relic representing a nation superseded by its own history. The wing has three exhibition rooms: the "large exhibition hall", with a surface area of 700 m2 (7,535 sq ft), generally hosts art exhibitions, and those that require more space, the "central hall" of 400 m2 (4,306 sq ft) and the "jubilee hall" of 150 m2 (1,615 sq ft), are used. [16] It was inaugurated on June 4, 1911, and completed in 1935. [11][12], The general conception of the bas-reliefs located laterally to the statue of the goddess Rome, one to his left and the other to his right, recalls Virgil's Bucolics and Georgics, which complete the triptych of the Altar of the Fatherland with the statue of the Roman divinity. [9], The concepts "freedom of citizens" and "unity of the homeland" also summarize the fundamental themes[10] that characterized the beginning and the end of the contribution given by Victor Emmanuel II to the Unification of Italy. [13] This was considered necessary because the Vittoriano should have been built in the heart of the historic centre of Rome, in a modern urban context, in front of a new large square (the future Piazza Venezia), which at the time was just a narrow open space in front of Palazzo Venezia. Colonnade du musée de la Civilisation romaine. Le quartier du Trastevere à Rome se trouve au de la du fleuve Tibre (Tevere en italien) sur la même rive que le Vatican au sud ouest […]. [3][8], One of the architecturally predominant elements of the Vittoriano are the external staircases, which are constituted in the complex by 243 steps, and the portico situated on the top of the monument, which is inserted between two lateral propylaea. [8], The Vittoriano is regarded as a national symbol of Italy and every year it hosts important national celebrations. [20][21] The Winged Victories, in addition to recalling the military and cultural successes of the Roman era, symbolize allegorically the good luck of national unity. [8] Following the Paris treaties of 1947, Pola, Fiume and Zara moved on to Yugoslavia and, after the dissolution of the latter, to Croatia. A fire that burns eternally symbolizes the memory, in this case of the sacrifice of the Unknown Soldier moved by patriotic love, and his everlasting memory of the Italians, even in those who are far from their country.
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