The building, nicknamed the "Typewriter", is located in the center of Rome on Piazza Venezia. It is impossible not to notice this huge monument of white limestone. Vittoriano is a symbol of the age-old dream - the unification of Italy.
Vittoriano- a monument in honor of the first king of united Italy, Victor Emmanuel II. The construction of this colossal monument began in 1885 and lasted half a century.
Vittoriano is embodied at the same time as an allegorical monument of loyalty to the Motherland. A wide staircase leads to the altar of the Motherland with a chapel in the center, in which there is a statue of Rome, framed by high reliefs depicting the triumphal processions of Labor and Love for the Motherland; under the statue is the tomb of the Unknown Soldier from 1921.
At the top of the monument rises an equestrian bronze statue of Victor Emmanuel II himself, once gilded. On the sides of the huge portico are two bronze chariots with statues of the winged Victory by Carlo Fontana and Paolo Bartolini, 1908.
Project Vittoriano was designed by Giuseppe Sacconi in the Empire style of ancient Roman architecture. Construction continued from 1885 to 1911. Two fountains on the sides symbolize the Tyrrhenian (right) and Adriatic (left) seas. Part of the monument is a twelve-meter equestrian statue of the king made of gilded bronze; on the plinth - symbolic images of the most famous cities of the country. Above is the colonnade of the portico, with propylaea on the sides, surmounted by the quadriga of Liberty and the quadriga of Unity. Under the statue of the king is the tomb of the Unknown Soldier, the so-called “Altar of the Fatherland”.
The Vittoriano houses two museums: the Museo Centrale Risorgimento and the Museum of the Flags of the Navy. The monument is characterized by excessive eclecticism and a heap of various details typical of ancient Roman structures (columns, bas-reliefs, statues, etc.).
Despite the reverent attitude of the Romans to the idea of the monument, the townspeople find that its neoclassical massiveness does not fit into the baroque Piazza Venezia, to which the ancient Roman Forum adjoins, and among themselves they call Vittoriano “Wedding Cake”, “Jaw” and “Typewriter” . Well, among tourists this place is no less popular than, for example, the same Colosseum.
As evening falls, the Roman youth likes to sit on the lawn in front of Vittoriano. Thanks to the soft illumination of the monument, romance soars around this place) It’s not for nothing that if we turn the word Roma upside down, we get Amor, that is, love).
Any kind of painting on the walls of architectural structures and other stationary bases is called monumental. Monumental painting is the most ancient (paintings in caves, for example).
The main techniques of monumental painting are:
Fresco
Mosaic
Stained glass.
Fresco (from Italian fresco - fresh). Painting on wet plaster. Very durable. The paint is absorbed into the plaster, and the lime contained in the plaster, when dried, forms a transparent calcium film. As if it turns to stone - hence the durability.
The opposite is painting and secco is dry. Now any wall painting can be called a fresco, regardless of its technique (and secco, tempera, oil painting, acrylic paints, etc.).
It is very difficult to write in fresco (if I portray it correctly, I have only heard it before), since it is difficult to correct what is written and you have to keep up until the plaster has dried. Walls are usually painted in fragments.
In ancient Rome, mosaics and frescoes were extremely widespread, including in the design of private dwellings.
Some of the wall paintings survived, oddly enough, thanks to one of the most terrible and major disasters that happened in the Roman Empire. During a strong eruption of Mount Vesuvius, the cities of Pompeii, Herculaneum and Stabiae were completely covered with ash. Under meter layers of lava, volcanic rocks and ash, not only houses have been preserved, but also wall paintings in the villas of wealthy people.
The murals are mostly in the fresco technique, but sometimes they were also painted with wax paints.
Four styles of ancient Roman painting.
All of them have a common name - Pompeian or Pompeian styles - this is a symbol of the stages of development of ancient Roman wall paintings from the 2nd century BC to the 3rd quarter of the 1st century AD. They got this name because they were studied on the basis of several surviving cities - Pompeii, Herculaneum and Stabia.
So, we have 4 Pompeian styles (systems - this is how styles are called in Europe):
Inlaid (2nd century BC - 80s of the 1st century BC)
Architectural (or perspective) (from the 80s BC - the 20s of the 1st century AD)
Ornamental or candelabra style (since 15 AD)
Decorative or illusory (developed almost in parallel with the style of candelabra).
The first Pompeian style - Inlaid (the era of the Roman Republic)
Picture for comparison
The wall was painted in imitation of the masonry wall of colored marble - dark red, yellow, black, white. That is, it imitated colored marble panels. All architectural elements of wall decoration (pilasters, cornices, etc.) were made of knocking.
Here is an example of a reconstruction of a Fresco from the House of Sallustio
A pilaster is a vertical protrusion of a wall, usually having (unlike a shoulder blade, see about the structure of the temple) a base and a capital, and thus conditionally depicting a column. Serves to strengthen the wall or just for decoration. That is, the effect of a column stuck to the wall or pressed into it is obtained.
Knock is a gypsum molding (more precisely, a mixture of gypsum, marble chips and glue) that imitates marble.
The Samnite House and the House of the Faun were painted in the first style.
Each surviving house in the excavated cities has its own name. For example, the House of the Faun is so named because there was a sculpture of a faun in its atrium.
The second Pompeian style is the Architectural or Perspective style (the era of the Roman Republic).
Picture for comparison
In it, the walls are divided into picturesque and illusory (translated into Russian - vividly, as if not painted, but real) with spectacularly executed columns and porticos; decorations seem to push the walls of the house apart and increase the space of the interior. Wall paintings appear between the columns, often reproducing the works of Greek artists. Their compositions reveal the prospects of streets, houses, landscapes of mountains and plains. Very often, artists paint pictures on mythological subjects with multi-figured compositions.
All architectural elements were depicted not by modeling (knocking), but by painting, there is no relief.
Fresco from a villa in the Boscoreale
Probably the most famous frescoes of the second "style" are the so-called "Dionysian cycle" of the Villa of the Mysteries.
Painting of the Hall of Mysteries
And here is another rite - the scourging of the initiate and the dance of the already initiated
Here is another wonderful fresco from the Villa of the Mysteries
The third Pompeian style is the Ornamental or Candelabra Style. Early empire era
Picture for comparison
The style of painting is marked by the flatness and ornamentation of architectural motifs, among which light openwork structures such as trellises, entwined with garlands and ribbons, and light columns predominate.
This drawing gives a very good idea of the third style.
Egyptian motifs are found in this style. Painting is changing. The paintings are getting smaller. They do not completely fill the space, but are placed in the middle, like hallmarks.
mural "Garden and Birds" from Villa Livia in Prima Porta
Why is this style also called the candelabra style? And because a new ornamental motif appears in the wall painting - an openwork structure resembling a tall metal candelabra - it separates the fragments of the painting.
Fresco from the House of Marcus Lucretius Fronto
The fourth Pompeian style is decorative or illusory.
This style is also called fantastic style or perspective-ornamental. It is fixed during the reign of Nero and differs from others by the addition of fantastic compositions and stage presence.
Picture for comparison
The fourth style is characterized by an abundance of wealth, but at the same time the absence of new elements. The fourth style is based on the first style - imitation of wall cladding with marble and its division, it uses fictitious architectural elements characteristic of the second style, decoration with candelabra, climbing plants characteristic of the third style.
But it differs sharply from previous styles in the dynamism of the spatial compositions of the paintings, their deliberate theatricality, the abundance of figures in strong movement of both body and soul.
The House of the Vettii in Pompeii contains examples of frescoes of this style.
Publication date: 2015-01-15 ; Read: 7252 | Page copyright infringement | Order writing work
website - Studiopedia.Org - 2014-2019. Studiopedia is not the author of the materials that are posted. But it provides free use(0.002 s) ...Disable adBlock!
very necessary
Contacts
Address: Piazza Venezia, 00186 Roma, Italy
Telephone: +39 06 678 0664
How to get there
Metro: Colosseo station (line B)
Trams: Stop Piazza Venezia (No. 8)
Buses: H, 40, 44, 46, 60, 62-64, 70, 75, 81, 84, 85, 87, 95, 160, 170
When you look at the sights of Rome, you never cease to be amazed at the subtle sense of beauty that is inherent in Italians. It seems that talented architects, sculptors and laborers put a piece of their soul into each object.
Yes, what does it look like! So it is, because without the full dedication of specific people, even a small fraction of the unsurpassed buildings, monuments, and squares that are located in Rome would not have happened.
Today, we can only mentally express our gratitude to the ancient architects, sculptors, artists, laborers and enjoy the wonderful sights of the capital of Italy.
In this article we will talk about the beautiful Vittoriano Monument, which is located on, and tell you how to get there. We hope you will understand that due to its grandeur and the symbolism of the sculptures, this place must be included in the itinerary of a tour of Rome.
Vittoriano in Rome - a bit of history
In 1878, the Italian parliament passed a decree on the construction of a national memorial dedicated to the memory of the first king of united Italy, Victor Emmanuel II. In 1880, an international competition for the best project was held. They immediately chose the candidacy of Henri-Paul Nenot, but soon rejected him because the architect was of non-Italian origin. In 1882, Joseph won
Pe Sacconi. He managed to win among 98 contestants.
The construction of the Altar of the Fatherland in Rome began in 1885. Venice Square was not chosen by chance: it was considered the heart of the former Roman Empire. The work progressed slowly: the authorities and craftsmen could not decide on the material from which the monument would be built. Initially, the choice fell on a marble called travertine, and then it was decided that it was better to use white marble from Brescia (Northern Italy).
The construction of the monument led to the fact that the general appearance of the area has changed: many medieval and Renaissance buildings had to be demolished, including the Palace of Venice and the Church of Santa Rita.
In 1905, Sacconi died and after him the construction was continued by Gaetano Koch, Manfredo Manfredi and Pio Piacentini. On June 4, 1911, under Victor Emmanuel III, this huge gilded bronze equestrian statue was unveiled. The event was not accidental: it happened during the International Exhibition and was dedicated to the 50th anniversary of the unification of Italy.
Ten years later, the body of the Unknown Soldier was placed there. Between 1924 and 1927 the quadrigas of Unity and Freedom appeared. It is believed that the construction of the monument was completed in 1935.
Today, several museums are located inside the monument to Victor Emmanuel II.
Vittoriano monument in Rome - description
Vittoriano is the only monument in Rome that can be seen from almost every part of the city. Its height is 81 meters, width - 135 meters, total area - 17,000 square meters. It is no coincidence that they say that it was built to be at least as impressive as. Despite the fact that not everyone was equally impressed with the monument and gave him such nicknames as "wedding cake", "false teeth" and "typewriter", Vittoriano became quite popular.
Tourists from all over the world come to look at the monument as a symbol of freedom and the unification of Italy, and local youth love to sit on the lawns next to the attraction in the evenings. Thanks to the white color of the marble from which it is built, Vittoriano stands out from other objects in the square. All the surrounding buildings look brown and inconspicuous. And in the dark, it is simply unique, because it is very well lit.
The monument, designed by the architect Sakonni, is made in the traditional neoclassical style. Massive staircases and high Corinthian columns are built around it. Among the works presented on the monument, you can find those that belong to sculptors from all over Italy. So 16 five-meter statues made by representatives of those regions whose name these marble creations bear. In particular, Piedmont, Lombardy, Veneto, Liguria, Emilia, Tuscany, Marche, Umbria, Lazio, Abruzzi and Molise, Campania, Apulia, Lucania, Calabria, Sicily, Sardinia.
In the center of the monument is a huge equestrian statue of Victor Emmanuel II from gilded bronze (height - 12 meters). It was made by a talented sculptor, artist Angelo Zanelli. Around it is also 14 statues. On each of these sculptures you can see the shield, coat of arms and symbols of one of the settlements: Turin, Venice, Palermo, Mantua, Urbino, Naples, Genoa, Milan, Bologna, Ravenna, Pisa, Amalfi, Ferrara, Florence. In a niche under the equestrian statue is a sculpture of Rome.
It is impossible not to pay attention to the various symbols of plants that are depicted on the monument, among them are palm trees, oak, bay leaf and olive. All of them mean strength, victory, sacrifice and consent.
The monument is sometimes called "L'Altare della Patria", but in fact Altare Della Patria (“Altar of the Fatherland”) is only that part of the bas-relief that is located directly under the statue of the king on horseback. Burning in front of the altar Eternal flame, so the Italians honor the memory of the Unknown Soldier during World War I. There are always military men who guard this memorial place. If visitors behave inappropriately, law enforcement officers warn about this with a whistle.
On both sides of the stairs are located. They symbolize the Tyrrhenian and Adriatic seas that wash Italy.
At the top of the building there is two bronze statues(quadriga). These are chariots, with four harnessed horses. Together they symbolize the unity and freedom of Italy. The creators of quadrigas are Carlo Fontana (left) and Paolo Bartolini (right).
In the Vittoriano complex are located:
- restaurant
- and an observation deck.
Thanks to the 81-meter height of the building, from it you can see the main sights and geographical features of all of Rome. Since 2007, the monument has been operating glass elevator, which brings tourists to the top. He eased the fate of people who previously had to overcome 196 steps from the colonnade. From this place it is good to start a tour of Rome.
For those who love history, it will be interesting Museum of the Risorgimento located in the pedestal of the monument. It is dedicated to the unification of Italy. And inside there is Museum of Navy Banners, there are many exhibition halls, some of them have permanent exhibitions, while others are used for temporary events. Since 2009, within the walls of the monument opened National Museum of Emigration.
Where is Vittoriano located and how to get to the monument
Attraction address: Italy, Rome, Piazza Venezia. The Vittoriano monument is located on the northern slope of the Capitoline. 
hill. Nearby are the Roman Forum and the Capitol.
How to get to Vittariano:
- You can get to the monument on buses: H, 40, 44, 46, 60, 62, 63, 64, 70, 75, 81, 84, 85, 87, 95, 160, 170, 175, 186, 492, 780, 628, 716, 781, 810 , 850 en 204;
- or by tram No. 8. The stop is called Piazza Venezia.
- The nearest station is Colosseo (line B), from the Venezia train station, take metro line C.
- If you move along Fori Imperiali street, Vittoriano can also be reached on foot from colosseum.
Attraction coordinates: 41°53’41″N 12°28’59″E.
The main part of the monument can be reached through the gate on Piazza Venezia. The upper panoramic terrace and the lift (‘Quadrigas Terrace’) are best accessed from the entrance in Piazza Ara Coeli or via the stairs from Piazza del Campidoglio. Main entrance to Museo del Risorgimento from Via di San Pietro 
in Carcere, from the back of the monument (left). Immediately behind it is the entrance to the temporary exhibition grounds.
Working hours:
Visit cost:
- lift cost to the observation deck – 7 euro.
- Full ticket to Museum of the Risorgimento will cost 5 euro, preferential - EUR 2.50. Entrance to the museum is free for everyone on the first Sunday of the month, permanently for citizens from the European Union under the age of 18, tourist guides, translators and some other categories of tourists.
- Tickets to Museum of Navy Banners free, but before visiting the institution, be sure to check the information.
The necessary information about the Museum of Emigration can be found on the official website of the institution www.museonazionaleemigrazione.it/museo.php?id=1.
Vittoriano monument in the photo
The Vittoriano Monument is not only an example of architecture and a memorable place. Anyone who sees such beauty will never be able to forget it. And each of you right now has the opportunity to get aesthetic pleasure from viewing the photos of the complex, which are presented below.
The Vittoriano is a monumental building. On its roof there is an excellent, but paid, observation deck, which is lifted by an elevator behind the building. Entrance to the Vittoriano is free. At the top left there is a free observation deck overlooking the Colosseum.
The Vittoriano monument stands on a slope, decorating with a slender colonnade. This grandiose complex immortalized the glory of Victor Emmanuel II - the national hero, the first king of the united independent kingdom of Italy.
Father of the Fatherland, "Padre Della Patria" - engraved on the royal tombstone in. The Italians cherish the memory of the great king, but the Vittoriano monument is ambiguous. For too pretentious and pompous appearance, the Romans call it “false teeth”, “open piano”, “wedding cake”.
Construction
The monument was built from 1885 to 1911, the author of the project was Giuseppe Sacconi. As a model, the architect took the largest ancient buildings: the Temple of Fortune from Prenesta and the Hellenistic Pergamon Altar. Vittoriano became the largest monumental object of its time. Under construction, a number of ancient buildings on Piazza Venezia were demolished - a whole block. The bright "palace" of Bottic marble occupied almost the entire area with its bulk.
In 1911, the grand opening took place. After this event, work continued until 1935.
Equestrian statue of Victor Emmanuel II
In front of the facade of the complex there is an equestrian monument to the Father of the Fatherland - Victor Emmanuel II. To create this statue, cannons were removed from the castle of the Holy Angel and a sculpture was cast from them. The author of the monument was Angelo Zanelli.
In the middle of the ledge is a sculpture of the goddess Roma, on the sides on the bas-relief - allegorical images. On the left: Labour, Agriculture, Harvest, Animal Husbandry, Irrigation and Grape Harvest, then the winged genius of Labour, followed by Industry, ascends the triumphant plow. On the right: Love for the fatherland, 3 women carrying the wreaths of Rome, followed by the standards of the legions; the triumphal chariot of Love for the Fatherland and the Hero; sacred fire of the Fatherland.
Around the monument there are 6 sculptures that embody the values of the Italians: Thought, Action, Consent, Strength, Sacrifice, Law.
Portico
The basis of Vittoriano's composition is a neoclassical portico with columns of the Corinthian order. It is adjoined on both sides by rectangular pronaos, on the upper platforms of which there are two quadrigas. The author of the left quadriga is Carlo Fontana; Bartolini sculpted the right chariot. The statues above the columns on the frieze symbolize the 16 Italian regions.
The observation platform on the attic floor between the pronaos is called the Quadrig Terrace. From this terrace you can see the entire Piazza Venezia, Via del Corso, the Capitol and (all the Roman sights that can be seen from here are marked on specially installed stands).
Fatherland Altar
The heart of Vittoriano is considered to be the "Altar of the Fatherland" - a memorial located in the protruding part of the monument, under the statue of the goddess Roma. Inside the altar is the Tomb of the Unknown Soldier of World War I. The "Altar of the Fatherland" is often referred to as the entire Vittoriano complex, although its officially recognized name is the National Monument of Vittorio Emmanuel II.
In the central part of Vittoriano there are two museums: the Central Museum of the Risorgimento, dedicated to the unification of Italy, and the Temple of the Flags (Sacrario delle bandiere) - an exposition of the banners of the navy.
You will learn about other attractions in Rome from my guide.
Address: Italy, Rome, Venice square
Start of construction: 1885
Completion of construction: 1911
Architect: Giuseppe Sacconi
Coordinates: 41°53"41.3"N 12°28"58.6"E
All Roman guides who work in travel agencies or simply earn extra money in sightseeing buses, of which a huge number travel around Rome, agree on only one opinion - there are many, even very many monuments in the "eternal city".
Altar of the Fatherland from a bird's eye view
... About the monuments themselves, despite their history and generally accepted facts, they tell differently: each guide has his own view of a particular monument of history and architecture. Only the Altar of the Fatherland stands out among them, at the sight of which all the guides, if they were born and live in Rome, suddenly change their mood, previously in Italian “fighting” and cheerful, utter a few slurred phrases, and allow tourists to draw a certain conclusion themselves about this Roman landmark.
What is the reason for such an attitude of Italians to a huge building located on Venetian Square? More precisely, to the building that occupied almost the entire space of Piazza Venezia, located on the slope of the legendary Capitol Hill? Maybe something terrible happened on the site of the Altar of the Fatherland, or something unpleasant and humiliating for the Romans? Looking ahead a little, it should be said that no terrible events occurred at the Altar of the Fatherland and at the site of its construction. It's just that Italians are very demanding people, especially when it comes to monuments and sculptures built relatively recently. And how could it be otherwise, if the indigenous inhabitants of Rome every day can contemplate the majestic Roman Forum, the Baths of Caracalla and other sights no less famous throughout the world, erected in ancient times? Naturally, architects and sculptors, developing a project in the 19th century, wanted to build something memorable and beautiful in the "eternal city", but how they did it is a little lower ...
View from Piazza Venezia
Altar of the Fatherland: design and construction
As already mentioned a little higher, the Altar of the Fatherland began to be built at the end of the 19th century, more precisely in 1885. The author of the project was Giuseppe Sacconi, who, apparently, was haunted by the ancient ruins of Rome, built in the Empire style. It is for this reason that the future monument, according to Sacconi, was supposed to “not stand out too much” and attract attention with luxurious columns, sculptures and various ensembles characteristic of buildings that were built before our era.
The name “Altar of the Fatherland” was given to the monument after its erection. The thing is that the construction of various columns, sculptures, two fountains near the majestic building, which now houses two museums, the banners of the navy and the Risorgimento, lasted until 1911. According to the original idea, it was supposed to be a monument symbolizing the unification of Italy. Also, Vittoriano, with its huge size and “classical” forms for Ancient Rome, according to architects and historians of that period of time, was forever obliged to put the name of the King of Italy, Victor Emmanuel II, in the memory of his descendants.
View of the Altar of the Fatherland from Via dei Fori Imperiali
For the construction of this structure, the architect and builders, who spoke so passionately in their speeches about the monuments of the history and architecture of Rome, without the slightest hesitation and doubt ... demolished an entire quarter. A quarter built back in the Middle Ages and consisting of various palaces and luxurious houses built in the Renaissance style. Vittoriano could not be built quickly, too much had to be added to the monument so that it would not go unnoticed by the Romans themselves and the guests of the city. Work was actively carried out until 1901. Then, as you know, almost all countries were drawn into the First World War, and it was decided to stop construction for a while.
The first time a huge building, in which history and the "modern" look of the architect intertwined, was opened in 1911. Its dimensions were truly enormous: 135 X 130 meters.
The Day of the Unification of Italy is the greatest holiday, therefore, on this anniversary, a monument to Victor Emmanuel II was erected over the new landmark of the capital. A separate, albeit small, story is also connected with him. They decided not to cast it in bronze or carve it in marble. To create it, the sculptors looked into Castel Sant'Angelo. Yes, yes, in the same building, on the roof of which the Archangel Michael descended in 590. In a building that has repeatedly saved Rome from the invasion of barbarians and vandals. Cannons were removed from the castle without much ceremony and melted down into a statue of the great Victor Emmanuel II.
View of the Tomb of the Unknown Soldier
Altar of the Fatherland: The 20th century begins...
After the last volleys of guns had died down on the bloody battlefields of the First World War, it was decided to attach the Altar of the Fatherland to Vittoriano. The Altar of the Fatherland, which later became known as the whole complex, is the grave of an unknown soldier who died in one of the battles of the First World War. This was another grand opening of the monument, which took place already at a time when the first fascist in the world, Benito Mussolini, was in power.
This dictator considered the monument not big enough and not quite finished. Under him, various sculptors added several bronze details to the architectural ensemble, which fully corresponded to the taste and preferences of one of the despots of the twentieth century. In 1935, the monument was again ... solemnly opened. Now they began to call it the Altar of the Fatherland, probably everyone has already forgotten why and in whose honor this giant monument was erected.
Statue of Victor Emmanuel II
Altar of the Fatherland today
Indigenous people, to put it mildly, dislike this monument, however, like many reputable architects, calling it a senseless heap of details. Although, in fairness, it is worth noting that the Altar of the Fatherland, which occupied most of the Venetian Square in Rome, attracts the attention of numerous tourists. They especially admire the two fountains. By the way, each of these fountains symbolizes one of the seas: Tyrrhenian and Adriatic. The fountains are made by sculptors to the conscience, there is nothing superfluous in them, and they really do not go beyond the "framework" of the ancient style.
True, the huge attraction of Rome is quite often closed for restoration and cleaning: there are too many various small details in it that are destroyed or simply clogged from time to time. But even this circumstance does not prevent the guests of the "eternal city" from visiting the Altar of the Fatherland. Maybe because very close to it there is a parking lot for tourist buses, near which you can admire the famous forum of Trajan?