Architecture and structure of Rome symbolizes fascism, professor says

Rome’s architecture is usually associated with famous buildings such as the Coliseum and St. Peter’s Basilica. However, professor Borden Painter of Trinity College spoke yesterday to an audience of 30 in the Stone Science building about an unrecognized force in Rome’s architecture and structure: fascism.

“Rome is one layer of history after another,” Painter said. “The fascist layer is important in itself, but also in relation to other layers.”

Fascist changes to the city could be as simple as changing street names to “Mussolini” and “Triumph” streets, or as complex as tearing down entire developments to widen other streets, Painter said.

“Reconciliation Street, which was built by the fascists to celebrate the Vatican’s recognition of Italy as a state, destroyed an entire neighborhood,” he said. “The street, which leads to St. Peter’s, is still there, and the buildings that line it are a prime example of fascist architecture.”

According to Painter, the new wide streets served as perfect places to hold elaborate parades celebrating the state and Mussolini or special dignitaries such as Hitler.

“Rome in the ’30s was the stage for the regime,” he said.

Another stage, according to Painter, was the Circus Maximus, which also used to house many citizens until it was cleared to become an arena for fascist exhibitions. With the consent of the Jewish community, the government even removed bodies from a Jewish cemetery in the area and re-interred them elsewhere.

Unlike Germany, Painter said, the Italian regime encouraged eclectic art and enlisted a variety of styles to show Italy’s move into the future. One architect gave a building from the 19th century a new facade, complete with giant aluminum pillars.

“If you went to Rome during 1933-4, you couldn’t help but notice all the construction and you would take away the impression that Mussolini was a builder and that Italy was on the rise,” he said.

The fascist leaders also combined futurism with an appreciation of ancient Roman art, such as a restoration of the Marcellus Theater and exposing other ancient structures, Painter said.

Reminders of Mussolini’s power were also integrated into architecture, as “DUCE” was carved into plaza stones, and large billboards proclaiming, “Mussolini is always right.”

Suzanne Matson, a junior in the College of the Arts and Sciences, found the presentation informative and said it was interesting to look at the influence of the art on the city’s history.

“I hadn’t considered that aspect of Italian art before,” she said. “I think it should be acknowledged, but Rome is an international city, and they shouldn’t let fascism interrupt that.”