Proposals for this bridge date from 1887 though construction did not begin

Proposals for this bridge date from 1887 though

This preview shows page 244 - 247 out of 280 pages.

Proposals for this bridge date from 1887, though construction did not begin until 1910, as it was considered a lower priority than several of the other Tiber spans and, with all of the other monuments going up, there was a shortage of good travertine.The design was by Angelo Vescovali who, as architect for the ministry of public works, was responsible for five other bridges over the Tiber. The elegant white bridge of three arches is laden with allegorical sculptures akin to those on the Vittoriano.They describe the king’s military valor and fidelity and hail him as father of the country. Like the Corso Vittorio that leads to it, the bridge offers a panoramic and politically charged view of Rome. In the river below, the ruins of the Pons Trionphalis recall the achievement of ancient emperors and the failure of Pope Julius II to rebuild it to carry his street, the Via Giulia.Views from the bridge to the Castel Sant’Angelo and the Hospital of the Santo Spirito make plain the state’s secular command of the military and the state structure of social welfare.As if in reprimand to the church, the state is ready to defend its position at the bridgehead.Winged Victories greet citizens coming from the city with laurel wreathes while those on the Vatican side brandish swords. 244 the architecture of modern italy
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the challenge of tradition, 1750–1900 4.36 Corso Vittorio Emanuele II, Rome, 1888–1910 4.37 Angelo Vescovali, Ponte Vittorio Emanuele II, Rome, 1910–11
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a national architecture The Corso and the Ponte Vittorio pulled the Vatican into a reconfigured urban system.The first monumental building constructed by the national government on the Vatican side of the Tiber attests to this same political intention.The Palazzo di Giustizia is the seat of the Italian Supreme Court together with all of the district courts in Rome and is the largest secular institutional building in the capital. In several respects it recalls Pope Julius II’s Palazzo dei Tribunali, planned by Bramante for the Via Giulia.The Vatican’s side of the Tiber was chosen for the modern courthouse by the minister of justice, Giuseppe Zanardelli. Prati had not been considered earlier because of its isolation across the unbridged river, its low flood plains, and its proximity to the Vatican, while territorial concession to the pope was still under discussion. Zanardelli’s decisive move corresponds to his strong policy with regard to church-state relations. Once the bridges were financed,Viviani planned out the Prati area with axial vistas, grids, and a grand trevium clearly recalling the Piazza del Popolo into which it is tied. None of the vistas or thoroughfares in Prati lead to the Vatican, however, and like the street names chosen for them, they are assertions of the secular state upon this contested ground.The Palazzo di Giustizia is the anchor.
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  • Spring '17
  • Archt. De Veyra

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