Histoire moderne du Rione Trevi Clément Letaconnoux by Clément LETACONNOUX

Unification of Italy / Early Contemporary

1750 - 1950

Unification of Italy 1750 - 1900

Early Contemporary 1900 - 1950

Unification of Italy / Early Contemporary - Timeline

Unification of Italy / Early Contemporary - 1750-1800

The Map shows the urban fabric inherited from the Middle Ages andRenaissance.

Apart from a few main roads, the smallstreetsarenumerous.

E.I. D. Magan, Trivii regio II Romana, La citta di Roma ovvero breve descrizione di questa superba città,

Map of the Trevi Rione, 1775

Unification of Italy / Early Contemporary - 1750-1800

Here, we can see the comparison ofthecurrentRioneTreviandthe one existing before the middle of the20thcentury.

Map of the Trevi Rione, 1775

E.I. D. Magan, Trivii regio II Romana, La citta di Roma ovvero breve descrizione di questa superba città

Unification of Italy / Early Contemporary -

1750-1800

p.239.

Napoleonic Rome : Rome was the capital of the “Italian Republic”,StatecreatedbyNapoleonI.

The Palazzo Quirinale was supposed to be the Pope’s residence. But he didn’t live in it so Napoleon had the idea in making an imperial palace. Not having had time to put all his ideas to execution, nothing special was done there. However, from 1870, the palace was occupied by the Italian Royal Family, then since 1946 by thePresidentoftheItalianRepublic.

Sketch of the Palazzo Quirinale, 1900’s

Negro Angela, Rione II - Part 2.1.,

Unification of Italy / Early Contemporary - 1800-1850

At that time, the Rione Trevi was on the outskirts of the built city. It was partly gardensandfields.

Plan de Rome Moderne, Fritaz, P. Letarouilly, 1838.

Plan of Modern Rome, 1838

Unification of Italy / Early Contemporary - 1750-1800

of Modern Rome, 1838

At that time, the Rione Trevi was on the outskirts of the built city. It was partly gardensandfields.

Plan de Rome Moderne, Fritaz, P. Letarouilly, 1838.

Plan

Unification of Italy / Early Contemporary - 1750-1800

At that time, the Rione Trevi was on the outskirts ofthebuiltcity.It was partly gardens and fields.

New plan of Modern Rome, Frutaz, Venanzio Monaldini Librario

New plan of Modern Rome, 1843

Unification of Italy / Early Contemporary - 1750-1800

At that time, the Rione Trevi was on the outskirts of the built city. It was partlygardensandfields.

New plan of Modern Rome, Frutaz, Venanzio Monaldini Librario

New plan of Modern Rome, 1843

Unification of Italy / Early Contemporary - 1750-1800

Vive.Cultura.gov.it, “Vittorio Emanuele II e il processo risorgimento”.

Risorgimento : With the former King of the Kingdom of Piedmont-Sardinia Vittorio Emanuele II, Rome became the capital of reunified Italy. There was therefore a desire to modernize the city, make it more practical and give it an aura of European capital (like workslikeParisforexample).

It was therefore necessary to renovate Rome because “the city’s still largely medieval infrastructure required dramatic transformation to carve out the modern spaces deemed fittingforagreatcapital”.Butalsoinaneedtomanagetheincreasepopulationofthecity (200.000in1870to2millionin1960).

Itisnecessarytobuild:

- Newinfrastructureforministries, …

- New infrastructure is needed for transports (tramway development, widening of streets,etc…).

- Newresidentialbuildings

Jessica Maier, The Eternal City, A History of Rome in Maps, p.157-159

Picture of the Vittorio Emanuele II

Unification of Italy / Early Contemporary - 1850-1900

New buildings

Demolitions

Master plan of Rome, Alessandro Viviani, 1873

Alessandro Viviani, a urban planner, made the master plan of official development in 1873 to think the evolutionofthecity.

Parentesi Storiche, « Trasformazioni urbane e potere cittadino tra Otto e Novecento : Roma e il caso di Palazzo Piombino ».

Unification of Italy / Early Contemporary - 1850-1900

New buildings

Demolitions

Master plan of Rome, Alessandro Viviani, 1873

Alessandro Viviani, a urban planner, made the master plan of official development in 1873 to think the evolutionofthecity.

Parentesi Storiche, « Trasformazioni urbane e potere cittadino tra Otto e Novecento : Roma e il caso di Palazzo Piombino ».

Unification of Italy / Early Contemporary - 1850-1900

New buildings

Demolitions

Master plan of Rome, Alessandro Viviani, 1873

There was a category called “public boulevards”. There was a desire to expand some important streets or even create new links between the streets to create large trafficspaces. The idea is close to the Haussmann’s project of Paris.

Parentesi Storiche, « Trasformazioni urbane e potere cittadino tra Otto e Novecento : Roma e il caso di Palazzo Piombino ».

Unification of Italy / Early Contemporary - 1850-1900

Demolitions

New buildings

Alessandro Viviani also completed a second master plan in 1882, which was ratifiedthefollowingyear.

Jessica Maier, The Eternal City, A History of Rome in Maps, p.166-67

Piano regolatore di Roma, Alessandro Viviani, 1882

Jessica Maier, The Eternal City, A History of Rome in Maps, p.167

Unification of Italy / Early Contemporary - 1850-1900

Demolitions

New buildings

Alessandro Viviani also completed a second master plan in 1882, which was ratifiedthefollowingyear.

Jessica Maier, The Eternal City, A History of Rome in Maps, p.166-67

Piano regolatore di Roma, Alessandro Viviani, 1882

Jessica Maier, The Eternal City, A History of Rome in Maps, p.167

Demolitions

New buildings

Piano regolatore di Roma, Alessandro Viviani, 1882

Jessica Maier, The Eternal City, A History of Rome in Maps, p.167

In our Rione, we can see clearly which urban strategy is sought: creates major traffic routes to cross the dense urban fabric of the city.

Axes planned but not implemented

New axes

Major existing axes

Via del Tritone

Via with the tunnel of Quirinale

Piano regolatore di Roma, Alessandro Viviani, 1882

Jessica Maier, The Eternal City, A History of Rome in Maps, p.167

Unification of Italy / Early Contemporary - 1850-1900

Like on the Master Plan of 1882, some proposals will appear. They will always go in the direction of creating greater axes of circulation by making inroads into the existing. However, many of them will never be applied.

Proposal of the systematization between Piazza Colonna and Piazza Barberini, Augusto Marchesi, 1880’s

Plans of proposition of urban restructuration, Luigi Gabet, 1880’s

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi, p.23-25

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi, p.43

As we have just seen, to create the image of Capital, Rome must have major axes. But these major axes (new or old) must also have important political buildings, even if buildings were already present.

We can take the example of “Via della Porta Pia” which became “Via XX Settembre” in tribute to the 20th September 1970: Day of the Capture of Rome by the Kingdom of Italy.

In this street, they will destroy a stadium of Sferisfero (built in 1814 and destroyed in 1881), churches and a part of the Barberini park to build buildings along the road. Three of these buildings will house the Ministry of War and its militarybases.

Map after 1950 Map before the works along the Via XX Settembre

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna, p.134-135

Map after 1950 Map before the works along the Via XX Settembre

Location of the destroyed Sferisterio

Location of the new buildings of the Ministry of War

We can take the example of “Via della Porta Pia” which became “Via XX Settembre” in tribute to the 20th September 1870: Day of the Capture of Rome by the Kingdom of Italy.

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna, p.134-135

Unification of Italy / Early Contemporary - 1850-1900

Picture of the Barberini Sferisterio

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna, p.135

Info Roma, « Pianta di Roma, 1866, Direzione generale Censo » Pianta of the Direzione Generale del Censo (1866)

Unification

of Italy / Early Contemporary - 1850-1900

We can see here two buildings that were built on the street. They are tied together, with a unity of style and composition. Palazzo Baracchini was the Ministry of War and Palazzo Caprara was a military base. The architect of these 2 buildings, Giulio Podesti, used a style very representative of the buildings of that time: the Stile Umbertino. It was the King of Italy of the time, Umberto I (in office from 1878 to 1900), who gave his name to thisarchitecturalstyle. WewillseelaterthatthismovementisveryrecurrentinthenewRomanbuildingsofthetime.Itisan movement (which brings together several architectural influences) inspired by Nouveau.

ENEA, «La diagnosi energetica di edifici di pregio storico-artistico»

Picture of the Palazzo Baracchini (built in 1886)

Picture of the Palazzo Caprara (built in 1884)

Unification of Italy / Early Contemporary -

1850-1900

This building, built right next to the other two, was built by Gaetano Koch in1884,anotherarchitectwhousedthe Stile Umbertino alot.

Picture of the Palazzo Bourbon (built in 1884)

Vincenza Manfredi Carmen, L’opera di Gaetano Koch, architetto di Roma Capitale, costruzione e trasformazione della città, p.67

Unification of Italy / Early Contemporary - 1850-1900

The Palazzo Calabresi is another building of Gaetano Koch, built in 1882 just next to the others (in Via XX Settembre).

Ifthecompositionisn’texactlythesame,wecanfindthe sametypeofarchitecturalstyle.

Vincenza Manfredi Carmen, L’opera di Gaetano Koch, architetto di Roma Capitale, costruzione e trasformazione della città, p.69-186

Facade of the Palazzo Calabresi (built in 1882) Plans (Ground Floor and 2nd floor) of the Palazzo Calabresi (built in 1882)

Unification of Italy / Early Contemporary - 1850-1900

Finally, Gaetano Koch will also build on the same axis the Palazzo Amici in 1883. It is located at the level of San Bernardo square and will be destroyed in 1938 to create a large axis of circulation: the largo Susanna, as wewillseelater.

Vincenza Manfredi Carmen, L’opera di Gaetano Koch, architetto di Roma Capitale, costruzione e trasformazione della città, p.79

Facade of the Palazzo Amici (built in 1883)

Plans of the Palazzo Amici (Ground Floor and one of the other floor)

Unification of Italy / Early Contemporary - 1850-1900

Urbanized area

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna, p.129

Unification of Italy / Early Contemporary - 1850-1900

Urbanized area Via XX Settembre : Urbanization axis

Wecanthereforeseeherea desire to extend the city by theViaXXSettembre.

For this, a unity of style (Umbertino Stile) was wanted to create administrativebuildingsand others.

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna, p.129

Palazzo Amici (1883)

Palazzo Calabresi (1882)

Palazzo Bourbon (1884)

Palazzo Baracchini (1886)

Palazzo Caprara (1884)

Unification of Italy / Early Contemporary - 1850-1900

This time, in another place of our Rione, Gaetano Koch will continue his work with the reconstruction of part of the Palazzo Mazzoleni Guglielmi Gori in 1888. The latter was built by Giovanni Battista Contini in the18thcentury.

Some parts of the facades will remain original, the rest will be retouched by Koch always taking inspiration from the ecclectism of Stile Umbertino. Thus, the building will no longer be entirely Renaissancestyle.

Vincenza Manfredi Carmen, L’opera di Gaetano Koch, architetto di Roma Capitale, costruzione e trasformazione della città, p.222

Facade of the building seen from Piazza dei SS Apostoli

Facade of the building seen from Via Cesare Battisti

Unification of Italy / Early Contemporary - 1850-1900

This time in another place of our Rione, Gaetano Koch will continue his work with the reconstruction of part of the Palazzo Mazzoleni Guglielmi Gori in 1888. The latter was built by Giovanni Battista Contini in the18thcentury.

Facade of the building seen from Via del Mancino

Facade of the building seen from Vicolo del Piombo

Vincenza Manfredi Carmen, L’opera di Gaetano Koch, architetto di Roma Capitale, costruzione e trasformazione della città, p.222

Unification of Italy / Early Contemporary - 1850-1900

Vincenza Manfredi Carmen, L’opera di Gaetano Koch, architetto di Roma Capitale, costruzione e trasformazione della città, p.222

Section of the building

Plan of the 3rd floor of the building

Vincenza Manfredi Carmen, L’opera di Gaetano Koch, architetto di Roma Capitale, costruzione e trasformazione della città, p.222

Unification of Italy / Early Contemporary - 1850-1900

RestorationofChiesaSantaMariadiLoretoalForoTraiano,LucaCariminiandGiuseppeSacconi (1871-73)

Franzini, Templ. SS. Apostolorum, 1588

After a restoration of the dome by the architect Parisi in the 19th century due to structural problems, it is the turn of Luca Carimini and Giuseppe Sacconi to restore the church Santa Maria di Loreto (builtin the16thcenturybyAntonioCordini).

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890), p.53

Illustration of the principle facade of the original church

Girolamo

Unification of Italy / Early Contemporary - 1850-1900

RestorationofChiesaSantaMariadiLoretoalForoTraiano,LucaCariminiandGiuseppeSacconi (1871-73)

Following the works of Parisi that were not finished, it was necessary to continue the work of consolidation of the dome dating from the Renaissance. It was therefore necessary to demolish decorations, build arches above some windowsandreducetheirheight.

Other works were also carried out to solve certain other problems: reconstruction of the church floor, reduction of 5 balustrades, restoration of altars, opening of a dormer in the centeroftheapsevault,newchoirs,etc. Itwasalsodecidedtoredotherearapse (the back of the church) with a new sacristy,hostingthestairsleadingtothe new apartments for chaplains and the rector(likearectory)upstairs.

Plan before and after the Carimini’s restoration

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890), p.53-54

Rear facade after Carimini’s restoration

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890), p.53-54

Unification of Italy / Early Contemporary - 1850-1900

RestorationofChiesaSantaMariadiLoretoalForoTraiano,LucaCariminiandGiuseppeSacconi

Intheplanofthebefore/aftertherestorationofCariminiandSacconi(carriedoutbetween1871and1873),wecanseethattheplan of the rear part of the church changed a lot.Butaswecanseewith these2maps, it was probably not because of a need in terms of urban planning and a lack of space becausethebuildingsaroundthechurchhadnotchangedfor150years. Thereisnomentioninthebooksofaneedtochangetheformofthechurchplan.Weonlymentionthedifficultyofworkinginsucha constrainedspace.Thiscouldbeduetostructuralproblemsbutnottoproblemswithsurroundingbuildings.

1903».

Rome ieri e oggi, «Piano Topografico,

Map of Gianbattista Battista Nolli, 1748

Map of the Italian Ministry of the War, 1903

Francesco Ehrle, Roma al tempo di Benedetto XIV di Giambattista, La Pianta di Rome di Nolli del 1748, 1932

Unification of Italy / Early Contemporary - 1850-1900

RestorationofChiesaSantaMariadiLoretoalForoTraiano,LucaCariminiandGiuseppeSacconi

Rome ieri e oggi, «Piano Topografico, 1903».

Map of Giambattista Battista Nolli, 1748

Map of the Italian Ministry of the War, 1903

The church

Buildings around the church

Francesco Ehrle, Roma al tempo di Benedetto XIV di Giambattista, La Pianta di Rome di Nolli del 1748, 1932

Unification of Italy / Early Contemporary - 1850-1900

RestorationofBasilicadeiSantiXIIApostoli,LucaCarimini(1858-79)

TheBasilicadeiSantiXIIApostoli,builtin1475,wasrestoredintwo stagesbyLucaCarimini:

-TherestorationoftheCappelladelCrocifisso(1858)

-ThentherestorationoftherestoftheBasilica,inadditiontoacrypt (1869-79)

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890)

Illustration of the principle facade of the original church

Girolamo Franzini, Templ. SS. Apostolorum, 1588

Unification of Italy / Early Contemporary - 1850-1900

RestorationofBasilicadeiSantiXIIApostoli,LucaCarimini(1858-79)

In 1858, Luca Carimini undertook the renovation of the Cappella del Crocifisso, at the back of the right nave of the Basilica.

The original layout of this chapel dates from 1721 with Sebastiano Cipriani. The chapel was completely redesigned by the will of the MarquisSisismondoBandiniGiustiniani.

Carimini transformed the chapel into a small basilica with 3 naves and preserved the 8 imposing columns already present before.

Domenico Bruschi also helped with the decoration of this chapel,creatingfrescoes.

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890), p.48

Finocchi Ghersi Lorenzo, La Basilica dei SS. Apostoli a Roma, Storia, arte e architettura, p.85

Finocchi Ghersi Lorenzo, La Basilica dei SS. Apostoli a Roma, Storia, arte e architettura, p.84

Picture of the Capella

Unification of Italy / Early Contemporary - 1850-1900

RestorationofBasilicadeiSantiXIIApostoli,LucaCarimini(1858-79)

In 1869, seeing the deterioration of the Basilica, the parish priest P. Bonelli redone calls Luca Carimini to renovate the floor and the presbytery.

The necessary suppression of the high altar had given Carimini the ideaofsearchingforthetombsofapostlesbydigging.

Excavations to find a crypt proved fruitful. Relics were found there. Forthecreationandlayoutofthenewcrypt,itwasthennecessaryto solve a problem: to create it without it breaking the unity of the central nave. Caramini, for this, will opt for the creation of semi-circular stairs with balustrades in polychrome marble.

p.49-50

Plan of the Basilica with the new stairs

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890), p.49

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890),

Unification of Italy / Early Contemporary - 1850-1900

RestorationofBasilicadeiSantiXIIApostoli,LucaCarimini(1858-79)

In 1869, seeing the deterioration of the Basilica, the parish priest P. Bonelli redone calls Luca Carimini to renovate the floor and the presbytery.

The necessary suppression of the high altar had given Carimini the ideaofsearchingforthetombsofapostlesbydigging.

Then the plan of the crypt consists of two parts: one is semi-circular with two ambulatories under the apse, the other rectangular that extendsunderthecentralnave.

Kinds of small naves are present, they are in reality spaces where statuesareexposed.

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890), p.49-50

Plan of the crypt, in the basement of the Basilica

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890), p.50

Unification of Italy / Early Contemporary - 1850-1900

RestorationofBasilicadeiSantiXIIApostoli,LucaCarimini(1858-79)

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890), p.50

Picture of the entrace of the crypt

Finocchi Ghersi Lorenzo, La Basilica dei SS. Apostoli a Roma, Storia, arte e architettura, p.52

Picture of the entrace of the crypt

Unification of Italy / Early Contemporary - 1850-1900

Someotherrestorationsduringthisperiod:

ChiesaSanMarcelloalCorso(1861-67)

Restoration by Vespignani

OratoriodelSantissimoCrocifisso(1878)

Restoration by Tito Armellini

PalazzoOdescalchi(1887)

Restoration by Raffaele Ojetti after a fire

ChiesaSanSilvestroalQuirinale(1873-77)

New facade by Andrea Busiri Vici

PalazzoVelentini(1861-73)

Restoration and extansion by Luigi Gabet

Armellini Mariano , Le chiese di Roma dal Secolo IV al XIX

Unification of Italy / Early Contemporary - 1850-1900

TeatroQuirino(1882-98):GiulioDeAngelis

Façade of the building

Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.114

AftertheUnificationofItaly,Romefounditselfshort of theatres despite its long tradition of shows and games. Thus, Maffeo Sciarra decided to establish a theatre in via delle Vergini in 1871 and will be completed the same year. It was a rather modest theatreofanunknowndesignertoday.

On10thAugust1881,thearchitectSettimjpresented a new project for a theatre but was rejected by the buildingcommission.

Subsequently, De Angelis worked on the subject and did the project. This building is a mixture of masonry, wood and cast ironstructure.

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.109-115

Enza

Unification of Italy / Early Contemporary - 1850-1900

TeatroQuinto(1882-98):GiulioDeAngelis

Subsequently, De Angelis worked on the subject and did the project. This building is a mixture of masonry, woodandcastironstructure. It should be noted that if the exterior aesthetic had been hailed by the critics, the foreground in relation to the stage and the internal organization in general were strongly critical by the newspapersofthetime.

Thus, other changes will come later withMarcelloPiacentini.

Plan of the building, under the floor

Plan of the building, on the floor

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.114

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.110-115

Unification of Italy / Early Contemporary - 1850-1900

TeatroQuirino(1882-98):GiulioDeAngelis

Thus, other changes will come later withMarcelloPiacentini.

Section of the building

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.115

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.110-115

Unification of Italy / Early Contemporary - 1850-1900

TeatroQuirino(1915-1927):PiancentinirestorationandadditionoftheQuirinetta

, p.56, 126.

In 1914, Piacentini renovated the interior of the theatre Quirino using the idea of “Romanita” : that is, the idea of returning to the vision of Imperial Rome, while combining this withinnovativemotifs.

The primary purpose of this intervention is to increase the capacityoftheroomandrenovatethedecorations. Hethereforecreatedaneworganizationfortheboxes,lowered thefloorofthestallsanddismantledthefalsestructuresadded in1898thatgavetheroomthe StileUmbertino.

If the exterior does not change style, the interior will be greatly modernized, especially under the influence of the avant-garde ofthe“Secessione Romana” whichgreatlysimplifiestheforms.

De Rosa Arianna Sara, Marcello Piacentini : opere 1903-1926

Drawings of the new building, 1914

Section of the new building, 1914

De Rosa Arianna Sara, Marcello Piacentini : opere 1903-1926, p.56, 57.

Unification of Italy / Early Contemporary - 1850-1900

TeatroQuirino(1915-1927):PiancentinirestorationandadditionoftheQuirinetta

In 1925-1927, Piacentini added the Quirinetta,acafélinkedtothe theatre.ThelatterhasanArtDecodecoration.

De Rosa Arianna Sara, Marcello Piacentini : opere 1903-1926, p.68-69.

Section of the Café Quirinetta which shows the decoration

Plan of the Teatro Quirino and the addition Café Quirinetta

1903-1926, p.68.

De Rosa Arianna Sara, Marcello Piacentini : opere

Unification of Italy / Early Contemporary - 1850-1900

PalazzoSciarraColonnadiCarbognano(modificationsin1888,builtin1593byFlaminioPonzio).GiulioDe AngelishadmodifiedthefaçadeviaMinghetti.

Illustration of the Palazzo Sciarra Colonna di Carbognano before the De Angelis intervention

Vasi Giuseppe, Late 18th Century.

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.116-118

Unification of Italy / Early Contemporary - 1850-1900

PalazzoSciarraColonnadiCarbognano(modificationsin1888,builtin1593byFlaminioPonzio).GiulioDe AngelishadmodifiedthefaçadeviaMinghetti.

From 1883, De Angelis became interested in the Palazzo Sciarra Colonna di Carbognano. First of all, he would like to create an additional attic floor, but this will be refused by the BuildingsCommissionofthetime. In 1888, following the destruction of the Palazzetto Sciarra to create the via Minghetti,DeAngeliswantedtocreate newopeningsforthisnewfacade.

Palazzo Sciarra Colonna di Carbognano

Palazzetto Sciarra (destroyed)

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.116-118

Illustration of the Palazzo Sciarra Colonna di Carbognano before the De Angelis intervention

Vasi Giuseppe, Late 18th Century.

Unification of Italy / Early Contemporary - 1850-1900

PalazzoSciarraColonnadiCarbognano(modificationsin1888,builtin1593byFlaminioPonzio).GiulioDe AngelishadmodifiedthefaçadeviaMinghetti.

First plan for the new facade

Final plan for the new facade

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.117-118

First design of the new facade

Final design for the new facade

In 1888, following the destruction of the Palazzetto Sciarra to create the via Minghetti, DeAngeliswantedtocreate newopeningsforthisnewfacade.

Todothat,heoptedforaunityofstyle withtherestoftheexistingbuilding.He createdafirstprojectwithoutentrance and then a second, later, with an entrance (but relatively small so as not to shade the main entrance on Via del Corso).

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.116-118

Unification of Italy / Early Contemporary - 1850-1900

GallerieMinghetti-Sciarra(1885-88):GiulioDeAngelis

MaffeoSciarraandAntonioLinari wanted to create a covered path beyond via Minghetti (to connect via dell'Umità to via Marco Minghetti to via della Muratte). On the ground floor was to be a Hotel.

In 1871, the proposed tunnel was to be the last section of the Via Nazionale but in 1882 they thought it was too complicated. They no longer wanted to get involved in an urban systematizationproject.

Project of Antonio Linari (not built)

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi, p.53

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.119-120

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi, p.52-53

Unification of Italy / Early Contemporary - 1850-1900

GallerieMinghetti-Sciarra(1882-1888):GiulioDeAngelis

MaffeoSciarraandAntonioLinari wanted to create a covered path beyond via Minghetti (to connect via dell'Umità to via Marco Minghetti to via della Muratte). On the ground floor was to be a Hotel.

In 1871, the proposed tunnel was to be the last section of the Via Nazionale but in 1882 they thought it was too complicated. They no longer wanted to get involved in an urban systematizationproject.

In 1885, De Angelis proposed to the municipality to build a building with an irregular plan because the shape of the land left no choice. This building allows to create a covered path betweenViaMinghettiandViadelUmanità. The building was to house newspaper offices and sports and cultural facilities.

Plan of the Building (Ground Floor)

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.121

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.119-120

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi, p.52-53

Unification of Italy / Early Contemporary - 1850-1900

GallerieMinghetti-Sciarra(1885-88):GiulioDeAngelis

MaffeoSciarraandAntonioLinari wanted to create a covered path beyond via Minghetti (to connect via dell'Umità to via Marco Minghetti to via della Muratte). On the ground floor was to be a Hotel.

In 1871, the proposed tunnel was to be the last section of the Via Nazionale but in 1882 they thought it was too complicated. They no longer wanted to get involved in an urban systematizationproject.

The municipality then accepted the project but decided to remove two columns at the façade level because they protruded onto the street.

The structure of the building is largely made of iron and glass, inspired by Milanese and French galleries with some floral motifs from Art Nouveau.

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi, p.52-53

Façade of the building

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.120

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.119-120

Unification

of

Italy / Early Contemporary - 1850-1900

GallerieMinghetti-Sciarra(1882-1888):GiulioDeAngelis

Pictures of the gallery

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.122-123

Unification of Italy / Early Contemporary - 1850-1900

PalazzettoDeAngelis(1892-95):GiulioDeAngelis

DeAngelisproposedaprojectin1883.However,theBuildingsCommissionrejectedtheprojectbecauseitwastooincomplete. Sometimelater,withthehelpofMaffeoSciarra,thebuildingwasfinallybuiltin1889.

Thebuildingwasintendedforshops,officesandintheupperfloors,homes.

Façade of the building

Map of the building

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.124

Unification of Italy / Early Contemporary - 1850-1900

PalazzettoDeAngelis(1892-95):GiulioDeAngelis

Like the previous Galleries, this building will also have thesamestyle(especiallywithArtNouveaufloralmotifs and elements of industrial production) and the same materials: especially iron and glass. Masonry will also be used.

Picture of a part of the facade

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.126

Unification of Italy / Early Contemporary - 1850-1900

AlbergoViaMinghetti(1889-1891):GiulioDeAngelis

In1889, De Angelis designed a large hotel on Via Minghetti and Via del Corso. The building had to be 6 floors (one will be removed during the project), with a classical architectural language and a treatment of the cut stone up to the first floor. Here again, many styles are mixed: Roman style of the 16th century, among many others.

The first project will be rejected because considered too high even despitethewithdrawalofafloor.

De Angelis will remove another 2 floors to get to 3 floors. Thus, the project was accepted and work could begin. However, Maffeo Sciarra, being mechanistic of this, will ask during the work to return to5floors.

Subsequently, the project will continue to evolve: some spaces in theDRCwillberequalifiedascommercialspaces,etc.

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.127-131

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.131

Plan of the ground floor

Plan of the first floor

Façade, view of Via Minghetti

Unification of Italy / Early Contemporary - 1850-1900

AlbergoViaMinghetti(1889-1891):GiulioDeAngelis

Enza Zullo, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, p.129

Section of the Hotel with 6 floors

Actual façade of the Hotel, Via del Corso

Unification of Italy / Early Contemporary - 1850-1900

Itcanthereforebeseenthat De Angelis,bythefactthatheveryoftencollaboratedwithMaffeoSciarra, had a lot of influence on a very specific area of our Rione.

Albergo Minghetti

Palazzo Sciarra Colonna di Carbognano

Gallerie Sciarra

Palazzetto De Angelis

Teatro Quirino (renovated by Piancentini)

Unification of Italy / Early Contemporary – 1900-1922

In addition to do renovations and to wanting new infrastructures, the capital city of Rome must have a monumenttothetributeoftheKingwhounifiedItaly(the “Vittoriano”). This symbol must be strong, Piazza Venezia mustalsobeenlargedtocleartheview.

For this, some buildings, which were facing the Palazzo Venezia, belonging to the Rione Trevi will be razed to enlargethesquare.

Map of 1870 overlaid with present lines of Piazza Venezia and the Vittoriano

Spiro Kostof, The Third Rome 1870—1950: an Introduction, p.64

Unification of Italy / Early Contemporary – 1900-1922

For this, some buildings, which were facing the Palazzo Venezia, belonging to the Rione Trevi will be razed to enlargethesquare.

Map of 1870 overlaid with present lines of Piazza Venezia and the Vittoriano

Spiro Kostof, The Third Rome 1870—1950: an Introduction, p.64

Unification of Italy / Early Contemporary – 1900-1922

For this, some buildings, which were facing the Palazzo Venezia, belonging to the Rione Trevi will be razed to enlargethesquare.

Map of 1870 overlaid with present lines of Piazza Venezia and the Vittoriano

Spiro Kostof, The Third Rome 1870—1950: an Introduction, p.64

The Vittoriano (out of the Rione II)

Palazzo delle Assicurazione Generali

Piazza Venezia (out of the Rione II)

Piazza Venezia (in of the Rione II)

Unification of Italy / Early Contemporary – 1900-1922

Newpartsbuilt Destroyedparts

the development

Map showing

project of Piazza Venezia and the Vittoriano

Map of Piazza Venezia before the project (1748)

Giuseppe Sacconi’s plan, 1897

Giovanni Battista Nolli’s map, 1748

Il Palazzo delle assicurazioni generali a Piazza Venezia, I documenti dell’archivio centrale dello stato, Quaderno 8, p.12

Unification of Italy / Early Contemporary – 1900-1922

Stamp showing the Piazza Venezia in 1720 by Gaetano Cottafavi.

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.10

Unification of Italy / Early Contemporary – 1900-1922

PalazzoBolognetti-Torlonia (destroyed)

PalazzoParacciani-Nepoti (destroyed)

PartofPalazzoVenezia destroyed

PalazzoVenezia

Stamp showing the Piazza Venezia in 1720 by Gaetano Cottafavi.

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.10

Unification of Italy / Early Contemporary – 1900-1922

Picture of the façade of the Palazzo Bolognetti-Torlonia in the Piazza

This Palazzo was built in the 18th century by Carlo Fontana for the Bolognettifamily.

Later, it was sold to the Torlonia family. It was destroyed (like other buildings next to it) to create the Piazza Venezia as weknowittoday.

Picture of the façade of the Palazzo Bolognetti-Torlonia in the Piazza Venezia its destruction.

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.92-99

Venezia its destruction.

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.92

Unification of Italy / Early Contemporary – 1900-1922

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.99-100

Pictures showing the interior and the exterior of the Palazzo Bolognetti-Torlonia

Unification of Italy / Early Contemporary – 1900-1922

Picture of the façade of the Palazzo Paracciani-Nepoti (next to Palazzo Torlonia and Casa Mancini) before its destruction.

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.96

Unification of Italy / Early Contemporary – 1900-1922

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.98-99

Survey of the facades of Via del Corso, 1835 by Alessandro Moschetti

Unification of Italy / Early Contemporary – 1900-1922

The destruction of many buildings, like the Palazzo Bolognetti-Torlonia, Catena and Nepoti, is thereforecarriedout.

Giuseppe Sacconi will then be commissioned to build a new building highlighting the square and the existing in general: the Palazzo delle Assicurazioni Generali.

Il Palazzo delle assicurazioni generali a Piazza Venezia, I documenti dell’archivio centrale dello stato, Quaderno 8

dell’archivio

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.106

Picture of the destruction of some Palazzi Bolognetti-Torlonia and Catena, in Piazza Venezia, 1903

Stamp showing the destruction of some Palazzi Bolognetti-Torlonia and Catena, in Piazza Venezia, 1903.

Il Palazzo delle assicurazioni generali a Piazza Venezia, I documenti

centrale dello stato, Quaderno 8, p.23

Unification of Italy / Early Contemporary – 1900-1922

Giuseppe Sacconi will therefore create a first project that he will present on the 8th of August 1901 butwhichwillberejected.

Facade of the first project of Sacconi for the construction of the Palazzo delle Assicurazioni Generali

Unification of Italy / Early Contemporary – 1900-1922

Theacceptedprojectwillbe,inpart,asymmetryofthePalazzoVenezia.ThisaccentuatesthecentralviewoftheVittoriano thecenter.Itwillbefinishedin1911.

However, if the impression of symmetry is present, they are clearly not the same buildings. Once again, the Palazzo delle AssicurazioniGeneralitakesupcommonfeaturesofthe

Il Palazzo delle assicurazioni generali a Piazza Venezia, I documenti dell’archivio centrale dello stato

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.11

Unification of Italy / Early Contemporary – 1900-1922

This drawing will be sent on the 9th of August 1902 and will be accepted. However, some slight modifications will still take place during construction.

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.150

Drawing of the facade of the Palazzo delle Assicurazioni Generali, 1902 by Sacconi.

Unification of Italy / Early Contemporary – 1900-1922

Picture of the entrance of the Palazzo delle assicurazioni generali, with the « Leone di San Marco ».

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.162

Unification of Italy / Early Contemporary – 1900-1922

Plan showing the space reserved for the building

Approved Ground floor Project Plan

Il Palazzo delle assicurazioni generali a Piazza Venezia, I documenti dell’archivio centrale dello stato, Quaderno 8, p.18-21

Unification of Italy / Early Contemporary – 1900-1922

Plan of the first floor of the building

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, p.225-247

Plan of another floor of the building

Unification of Italy / Early Contemporary – 1900-1922

Vive.Cultura.gov.it, « Giuseppe Sacconi and construction Vittoriano, 1885-1905 ».

Aerial view of Piazza Venezia and its surroundings with the demolished Palazzi, 1860’s.

Piazza Venezia from the Vittoriano in the 1950’s.

Unification of Italy / Early Contemporary - 1900-1922

Stillinalogicofcreatingmajortrafficaxesinthecity,atunnelwascreated underthePalazzoQuirinale.TheTrafaroUmbertoIwasinauguratedin1908 andbuiltbyGiulioPodesti.

Postcard of the tunnel of the Quirinale

Roma Sparita, « Traforo Umberto I »

Map and section of the tunnel of the Quirinale

Andrea Carandini, Paolo Carafa, The Altas of Ancient Rome, p.179

Unification of Italy / Early Contemporary - 1900-1922

The changes are rarer in the Trevi region, probably because the Master Plan is gaining in volume, we are moreconcernedwiththeperipheries.

Info Roma, “Pianta di Roma, 1909, Piano Regolatore”.

Master plan of Rome, Edmondo Sanjust, 1909.

Unification of Italy / Early Contemporary

The changes are rarer in the Trevi region, probably because the Master Plan is gaining in volume, we are moreconcernedwiththeperipheries.

Info Roma, “Pianta di Roma, 1909, Piano Regolatore”.

Master plan of Rome, Edmondo Sanjust, 1909.

The changes are rarer in the Trevi region, probably because the Master Plan is gaining in volume, we are moreconcernedwiththeperipheries.

Master plan of Rome, Edmondo Sanjust, 1909.

Info Roma, “Pianta di Roma, 1909, Piano Regolatore”.

The changes are rarer in the Trevi region, probably because the Master Plan is gaining in volume, we are moreconcernedwiththeperipheries.

The only planned project in our Rione still follows the same logic : creating breakthroughs to build new trafficaxes.

This project will again be present in the Piano Regolatoredi1931butwillneverberealized.

Master plan of Rome, Edmondo Sanjust, 1909.

Roma, “Pianta di Roma, 1909, Piano Regolatore”.

Unification of Italy / Early Contemporary - 1922-1943

Mussolinitakethepowerin1922.

He will want to transform the city of Rome through fascist ideology and the cult of Romanità.

He said “In five years, Rome must appear marvellous to all the peoples of the world; vast,orderly,powerful,asitwasinthetimeofthefirstempireofAugustus”.

Mussolini’s urban interventions will often be in continuity with those made since 1871 but he will push the level of destruction to a relatively extreme point. For example, it widened the streets or isolated some monuments (by “cleaning” the surroundings).

Jessica Maier, The Eternal City, A History of Rome in Maps, p.161-162

Larousse, « Personnage : Benito Mussolini ».

Picture of Benito Mussolini

Unification of Italy / Early Contemporary - 1922-1943

Since 1870, the Rome’s population had increasedalot.

Horse-buses were no longer sufficient to transport the local population. Horse-drawn trams were created in 1877. Finally, in 1890, electrictramsbegantoappear.

In 1909 the municipal tramway was created and in 1927, the private lines became public and controlled by the ATAG (Azienda delle Tramvie e Autobus del Governatorato di Roma).

Jessica Maier, The Eternal City, A History of Rome in Maps, p.171-172

Roma Sparita, “Via Quattro Fontane”

Picture of the works for the Tramway installation, Via delle Quattro Fontane, beginning of 1900’s.

Unification of Italy / Early Contemporary - 1922-1943

Since 1870, the Rome’s population had increasedalot.

Horse-buses were no longer sufficient to transport the local population. Horse-drawn trams were created in 1877. Finally, in 1890, electrictramsbegantoappear.

In 1909 the municipal tramway was created and in 1927, the private lines became public and controlled by the ATAG (Azienda delle Tramvie e Autobus del Governatorato di Roma).

Jessica Maier, The Eternal City, A History of Rome in Maps, p.171-172

Map of Tramways of Rome, P. Corbellini, 1925

Roma ieri e oggi, « Roma tourning club italiano, 1925 »

Tramway lines

Unification of Italy / Early Contemporary - 1922-1943

Since 1870, the Rome’s population had increasedalot.

Horse-buses were no longer sufficient to transport the local population. Horse-drawn trams were created in 1877. Finally, in 1890, electrictramsbegantoappear.

In 1909 the municipal tramway was created and in 1927, the private lines became public and controlled by the ATAG (Azienda delle Tramvie e Autobus del Governatorato di Roma).

Map of Tramways of Rome (focus Rione Trevi), P. Corbellini, 1925

Jessica Maier, The Eternal City, A History of Rome in Maps, p.171-172

Tramway lines

Unification of Italy / Early Contemporary - 1922-1943

Since 1870, the Rome’s population had increasedalot.

Horse-buses were no longer sufficient to transport the local population. Horse-drawn trams were created in 1877. Finally, in 1890, electrictramsbegantoappear.

In 1909 the municipal tramway was created and in 1927, the private lines became public and controlled by the ATAG (Azienda delle Tramvie e Autobus del Governatorato di Roma).

Map of Tramways of Rome (focus Rione Trevi), P. Corbellini, 1925

oggi, « Roma tourning club italiano, 1925 »

Jessica Maier, The Eternal City, A History of Rome in Maps, p.171-172

Tramway lines

Unification of Italy / Early Contemporary - 1922-1943

Map of Tramways and Autobus of Rome, Stabilimento Topografico Centrale di Roma, 1930

But the project of Tramway was reallychaotic. A radical reorganisation was ordered in 1930. They prefered to remove the majority of Tramwaysandcreatebuslines.

Jessica Maier, The Eternal City, A History of Rome in Maps, p.171-172

Bus lines

Unification of Italy / Early Contemporary - 1922-1943

Bus lines

of Tramways and Autobus of Rome, Stabilimento Topografico Centrale di Roma, 1930

Roma ieri e oggi, « Pianta linee tramviarie e di autobus, 1930 »

But the project of Tramway was reallychaotic.

A radical reorganisation was ordered in 1930. They prefered to remove the majority of Tramwaysandcreatebuslines.

Map

Jessica Maier, The Eternal City, A History of Rome in Maps, p.171-172

Unification of Italy / Early Contemporary - 1922-1943

Onceagain,thedesiretocreatemajoraxes forthetrafficisfeltinthisurbanproject.

On this map, only the northern part of the project will be done. The southern part will not.

Piano Regolatore, Marcello Piacentini, 1931

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi

Unification of Italy / Early Contemporary - 1922-1943

Onceagain,thedesiretocreatemajoraxes forthetrafficisfeltinthisurbanproject.

On this map, only the northern part of the project will be done. The southern part will not.

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi

Piano Regolatore, Marcello Piacentini, 1931

Onceagain,thedesiretocreatemajoraxes forthetrafficisfeltinthisurbanproject. On this map, only the northern part of the project will be done. The southern part will not.

Piacentini Marcello, Le vicende edilizie di Roma

Piano Regolatore, Marcello Piacentini, 1931

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi

Google Maps

Piano Regolatore, Marcello Piacentini, 1931

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi

Google Maps

Piano Regolatore, Marcello Piacentini, 1931

Unification of Italy / Early Contemporary - 1922-1943

To create major axes, in a larger-scale project of systematizationofthedistrictuptoTermini,theywanted to create a link between Piazza San Bernardo and Piazza Barberini. For this, many destructions and reconstructions were necessary and Marcello Piacentini didit.

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna

Unification of Italy / Early Contemporary - 1922-1943

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna

Unification of Italy / Early Contemporary - 1922-1943

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna, p.167

Unification of Italy / Early Contemporary - 1922-1943

Project of Marcello Piacentini not realized. The destruction of the Palazzo Amici was well done but the constructions of this drawing were not realized.

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi, p.108

Unification of Italy / Early Contemporary - 1922-1943

ThedestructionofthePalazzoAmiciin1938tocreatetheLargoSantaSusanna andexpandthestreettofacilitatetraffic.

Palazzo Amici di Gaetano Koch and Chiesa di Santa Maria della Vittoria (1925)

Piazza Bernardo today, without the Palazzo Amici

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna, p.159

B. 1866

Buildings dating from d’avant 1866

Public Building with an historical interest

1867-73

Building Replacements

1874-80

1881-90

1891-1909

Building built between 1874 and 1880

Building Replacements

1927-44

Building built between 1881 and 1890

Façade Alignment

Building Replacements

Façade Alignment

Building Replacements

Building built between 1927 and 1944

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna.

Map showing the different eras of the buildings near Piazza Barberini and Piazza San Bernardo

Unification of Italy / Early Contemporary - 1922-1943

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna, p.172

Picture of the Largo Santa Susanna with the Fiat Buildings built by Marcello Piancentini

Unification of Italy / Early Contemporary - 1922-1943

ThesephotosshowtheevolutionoftheBarberinisquare,thenewbuildingsaroundanditslayoutforcars:thehangingupof thesquareandtheneighborhoodtotheTerminiareawiththeprojectofsystematizationoftheMarcelloPiacentiniarea.

Piazza Barberini in 1870

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna

Piazza Barberini in 1931

Unification of Italy / Early Contemporary - 1922-1943

Thedestructionofresidentialbuildings(in1927)inPiazzadellaPilottatoplacethe PontificalGregorianUniversity(inauguratedin1930),builtby Giulio Barluzzi.

Picture of the new university

Picture of the previous residential buildings

Pontificia Università Gregoriana, L’inaugurazione della Nuova Sede.

Unification of Italy / Early Contemporary - 1922-1943

Thedestructionofresidentialbuildings(in1927)inPiazzadellaPilottatoplacethe PontificalGregorianUniversity(inauguratedin1930),builtbyGiulioBarluzzi.

Picture of the destruction of the previous buildings

Picture of the beginning of the works

Picture of the final works

Pontificia Università Gregoriana, L’inaugurazione della Nuova Sede

Unification of Italy / Early Contemporary - 1922-1943

Thedestructionofresidentialbuildings(in1927)inPiazzadellaPilottatoplacethe PontificalGregorianUniversity(inauguratedin1930),builtbyGiulioBarluzzi.

Principal façade of the university

Façade of the library of the university

Pontificia Università Gregoriana, L’inaugurazione della Nuova Sede

Unification of Italy / Early Contemporary

1750 : End of the Baroque that leaves the cityofRomewithanurbanfabricofnarrow streets

1760 – 1865 : Industrial Revolution mainly in Northern Europe and major urban projects in major cities such as Vienna and Paris.

Francesco Ehrle, Roma al tempo di Benedetto XIV di Giambattista, La Pianta di Rome di Nolli del 1748, 1932

Map of Giambattista Battista Nolli, 1748

Unification of Italy / Early Contemporary

1750 : End of the Baroque that leaves the cityofRomewithanurbanfabricofnarrow streets

1760 – 1865 : Industrial Revolution mainly in Northern Europe and major urban projects in major cities such as Vienna and Paris.

1871 : Rome become the capital city of the KingdomofItaly.

1871 - 1922 : Transformation of the city throughmasterplans.

and reconstructions

New major axis

Destructions

of urban fabric

Destructions to create Piazza Venezia

Francesco Ehrle, Roma al tempo di Benedetto XIV di Giambattista, La Pianta di Rome di Nolli del 1748, 1932

Map of Giambattista Battista Nolli, 1748

Unification of Italy / Early Contemporary

1750 : End of the Baroque that leaves the cityofRomewithanurbanfabricofnarrow streets

1760 – 1865 : Industrial Revolution mainly in Northern Europe and major urban projects in major cities such as Vienna and Paris.

1871 : Rome become the capital city of the KingdomofItaly.

1871 - 1922 : Transformation of the city throughmasterplans.

1922 - 1943 :Mussolini’sItaly:Continuityof theurbanprojectinamoreradicalway.

and reconstructions of

New major axis

Destructions

urban fabric

Destructions to create Piazza Venezia

Map of Giambattista Battista Nolli, 1748

Francesco Ehrle, Roma al tempo di Benedetto XIV di Giambattista, La Pianta di Rome di Nolli del 1748, 1932

Unification of Italy / Early Contemporary - Bibliography

Books :

W. Painter Jr. Borden, Mussolini’s Rome. Rebuilding the Eternal City, Palgrave Macmillan, New York, 2005.

Negro Angela, Rione II, Fratelli Palomba Editori, 1985. (1, 2.1, 3, 5, 6, 7, 8)

Accasto Giani, Fraticelli Vanna, Nicolini Renato, L’architettura di Roma Capitale 1870-1970, Edizioni Golem, Roma, 1971.

Pietrangeli Carlo, Il nodo di S. Bernardo : una struttura urbana tra il centro antico e la Roma moderna, Angeli, Milano, 1977.

Boutry Philippe, Roma Moderna, Laterza, 2002.

Accasto Gianni, Fraticelli Vanna, Nicolini Renato, L'architettura di Roma capitale, 1870-1970, Golem, 1971.

Adinolfi Pasquale, Roma nell’età di mezza - 2nd Tome, 1881.

Carandini Andrea, The Atlas of Ancient Rome: Biography and Portraits of the City, 2017.

Kostof Spiro, The Third Rome 1870—1950: an Introduction.

Guidoni Enrico, Storia dell’urbanistica, Edizioni Kappa, 1983.

Armellini Mariano , Le chiese di Roma dal Secolo IV al XIX, topographia Vaticana, Rome, 1891.

Carandini Andrea, Paolo Carafa, The altas of ancient Rome, Bibliography and portraits of the city, Mondadori Electa S.p.A, 2012.

De Rosa Arianna Sara, Marcello Piacentini : opere 1903-1926, Franco Cosimo Panini editore, Modena, 1995.

Lupano Mario, Marcello Piacentini, Editori Laterza, Roma, 1991

Piacentini Marcello, Considerazioni sull’urbanistica e sull’architettura di Roma e altrove, Roma, 1953

Piacentini Marcello, Le vicende edilizie di Roma dal 1870 ad oggi, Fratelli Palombi Editori, Roma, 1952

Priori Giancarlo, Tabarrini Marisa, Luca Carimini (1830-1890), Franco Cosimo Panini, Modena, 1993

Unification of Italy / Early Contemporary - Bibliography

Books :

Vincenza Manfredi Carmen, L’opera di Gaetano Koch, architetto di Roma Capitale, costruzione e trasformazione della città, Edizioni Quasar, Roma, 2015

Zullo Enza, Giulio De Angelis architetto: progetto e tutela dei monumenti nell’Italia umbertina, 2005.

Pontificia Università Gregoriana, L’inaugurazione della Nuova Sede, Rome, 1930.

Valnea Santa Maria Scrinari, Il Palazzo delle Generali a Piazza Venezia, Editalia, Roma, 1993.

Finocchi Ghersi Lorenzo, La Basilica dei SS. Apostoli a Roma, Storia, arte e architettura, Artemide, Roma, 2011

Others:

Course of Analisi della città e del territorio with professor Lucina Caravagg, Università degli studi di Roma “La Sapienza”, Architecture Faculty.

Il Palazzo delle assicurazioni generali a Piazza Venezia, I documenti dell’archivio centrale dello stato, Quaderno 8, Archivio Centrale dello Stato, 2006.

Urbanistica Tre, n.1, Ottobre 2018.