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The Piazza Venezia

It is curious to see how two completely different art styles succeedin cohabiting between them. A so-called monument "modern" being built since 1885 to 1911 from Giovanni Sacconi so rich of references to the 1870 Italy unity, container the grave of the unknown soldier and the altar of the Fatherland, with a later addition of the 1918 Victory Bulletin thatremembers the victorious role of Italy to the people in the first World War and an equestral statue of the last king of Italy, Vittorio Emanuele II, that goes to incastonate in a rib of the most representative and more famous hill in Rome, the Capitol, to the point to make to in a friendly way call it "the typewriter" from the Romans or "the wedding cake" from the Americans.

Focusing our attention to the white monument located in the city center of Rome, will make us understanding why it is located just in front of the Roman forum and the Colosseum: our limousine drivers will take you around of it to see how it is really attached to the ancient Rome.

According to my modest opinion, even if it has perhaps wanted to be a testimony of the progress that advances ineluctable in the tradition and in the heart of ancient Rome, it needed to make an effort to make to keep on living the other testimony, that of the other pulsating heart with its narrow streets, thatwould have left some wonder that have been originating for centuries of inheritance intact.

Public transportations in Rome are not so easy to join even if they are cheap, but the solution if you have few hours at disposal is to do a full day tour of Rome with private limo driver.

The construction however unfortunatelyhas been planned twenty years before the beginning of the excavations of the area of the Roman Forum. A forced cohabitation called affectionately "a marriage not entirely succeeded ", but the Romans have donethe habit about it.

Every June 2, the feast of the Italian republic, the monument is visited for few hours by the italian authorities and the traffic is stopped around the ancient ruins for security reasons.

It needs however to say that the two enormous chariots that rise on the monument ( realized in 1908 from Fontana and Bartolini) surmounted by winged Victories, of which the burnished bronze enters in contrast with the white marble of the whole complex they form a good chromatic combination and they are also visible superbly from the more distant panoramic views.

Admiring the white shape of the monument nicknamed " the wedding cake" or the "type-writer" is a funny way to study also that this giant building with colonnades takes its model from the ancient roman market sanctuaries located many centuries ago to Palestrina and Tivoli.