The Surprising Roman Remnants of Fascist Art
It is a surprising sight, after visiting so many Roman locations and works of art that extend from the Renaissance into the distant past, to suddenly come upon the sizeable gold and marble obelisk outside of the Foro Italico stating “Mussolini Dux.” The complex was indeed originally called the Foro Mussolini and was finished just before the beginning of World War II. This site, intended to hold the Olympic games of 1940 and give the regime a way to showcase its vision and power, was not on our spring break study abroad official group itinerary. On our last full day in Rome, three of us joined Dr. Heather Fielding on an excursion to see the Stadio dei Marmi; that is, the stadium which includes around sixty marble statues of male athletes famously built under the dictatorship of Mussolini, who came to power in 1922. An ally of Hitler’s Germany, he, too, engaged in the persecution of groups like the Jews and believed in the necessity of might and conquering to re-establish his country’s power.
It was an especially striking day to visit, despite the light rain and chill in the air. Or maybe “striking” isn’t the right word…we were certainly entertained. Starting the day before, we had begun to see men in kilts. As it turned out, fans of Scotland’s rugby team were amassing to attend that day’s match against Italy. The few kilts we had seen earlier became hundreds, and within the Stadio dei Marmi, which was that day a relatively quiet spot next to the stadium where the match was to take place, a group of bagpipers practiced; such an intriguing contrast with the surrounding statues. The bagpipers, proud visitors to Rome due to the Scottish rugby team, were a modern and amusing sight, while the statues appeared, to those of us who knew their origin, to be both less amusing and also, perhaps, “of their time.”
The marble statues circle the space, and each represents a different form of sport. Their facial features are distinctly individualized, which struck me as unlike other classically inspired sculpture, and their expressions range from placid to what you might describe as violent. That may be one reason they are so memorable; some appear disturbingly confrontational, and all are incredibly and intimidatingly muscular. Those of us who viewed them sensed the equally troubling fascist ideals that lay behind them when originally created. For example, the brute strength in the figures calls to mind the fascist belief in war as a natural end, where horrifying struggle affirms life and a desire to conquer is entirely justified. Too, just as the Colosseum was intended to impress citizens, these statues within the overall complex suggest that the regime was aware of its power and could easily prevent individuals from questioning their limited latitude in comparison with the state.
This visit to the Stadio dei Marmi was able to cap off a trip full of experiences with sculpture and architecture. Reflecting on this last day, I recognized the breadth of sculpture we had seen. The idealized, athletic male form is of course recognized as a common sculptural theme, but I was struck by the varying ways this may be represented in Italian art. What does this indicate, these sculptures standing out as they did from the rest?
Visiting Rome, like other major European cities, offers easy access to many incredible works of art. Our visit to the Galleria Borghese presented the opportunity to witness the gift of Bernini, whose artistic works hail from the 17th century. There are many indications of his talent, for example the work The Rape of Proserpina. I was not the only one in our group to stand and study this Baroque sculpture for minutes, despite the constant influx of other visitors to the museum. The violence of Pluto’s grasp of Proserpina is not enough to detract from the pure beauty of the work; Bernini was particularly good at making flesh look pliable even in marble and the effect is so incredible the viewer forgets the subject matter. Pluto’s hands dig in to Proserpina’s thighs and side in a realistic manner. While they are each made out of marble, Proserpina’s body contrasts greatly with Pluto’s; she appears soft and smooth, and Pluto has defined and rugged musculature. His figure is aggressive but is contained within the narrative presented by the sculpture. The statues of the Foro Italico, especially those that face outward or down instead of upward, seem to engage the observer and challenge them.
Bernini’s sculpture of biblical David can also be part of our particular focus on athletic male forms. His body is twisted as he prepares his shot, and his face indicates intense concentration. The sculpture is anything but static. This is again a beautiful individual; his strength and athleticism come second to the mere physical appeal of the subject and the clear talent that this work required. This is a heroic figure, so obviously the appealing body varies from the figure of Pluto. Yet while it is proud and striking, it is in a much different manner than the statues of the Foro Italico. Not only is the type of sculpture obviously different, with Mussolini’s statues bearing more stylized figures, but Bernini’s sculptures mentioned here are in the incredibly ornate Borghese Gallery. The extravagant beauty of the museum, which is covered in decoration from ceiling to floor, can be overwhelming but it is certainly not oppressive. The sculptures here can be appreciated in the context of pleasure viewing great European art, not with the knowledge that they were commissioned by a fascist dictator and can convey some of the narcissism that entails.
The statues at the Foro Italico are an imposing group of marble gentlemen, to be sure. Some of them are more imposing than any of the busts or full-length sculptures of emperors we saw, in museums and elsewhere. What a surprise that some of the most memorable sculptures, for better or for worse, are these. To address my previous question, I would say these statues stand out only partially for their physicality. Their location and the historical significance of their creation are instead the cause of their distinct nature. If I was unaware of their connection to Mussolini, and had not been struck first by the obelisk outside of the stadium, their sometimes fearsome demeanors might not have impacted me in such a way. The male body is politicized in these statues, and while it is not unusual for the female body to be excluded from this athletic depiction, the sheer number of unrealistically “masculine” statues here makes it all the more strange to view the lack. Instead of athletic prowess alone being celebrated, the domination and power of the government is metaphorically represented. The modern rugby match taking place in the adjoining stadium allowed citizens from varying parts of Europe to gather and enjoy themselves and their Saturday; this is the lighthearted side of sport. But Mussolini’s statues are a reminder of the way respect for achievement and even potentially unifying pastimes can be misused for partisan ends.
This complex is not the only reminder of Mussolini and you might say, of course something like this is memorable, it’s Rome! But these statues in particular made me feel very small, and very much the American tourist — they feel emphatically Italian, and I am well aware it is because Mussolini wanted to emphasize the glory of Italy.
Later that day and in the days following I, a small tourist from the Unites States, began to think of my own country as a comparative study. I mentioned above the politicization in these works, which suggest the deceitful notion that might justifies any action. Despite what happened to Mussolini, despite the Allied occupation of Italy, these statues are still here. They are also incredible works of art, so denouncing fascism by denouncing them becomes more difficult. And yet I was reminded of that concept; don’t we have enough of that remaining today? In the U.S., isn’t there still a plague of narcissism and isn’t the world still full of the power-hungry and their aggression? These statues may feel like the product of another time, but unfortunately the message I received from them does not. They have not yet had to stand the trials of time in the way that classical Roman sculptures have, but maybe they will. Maybe by then they will only seem like harmless, slightly caricatured Modernist works. I don’t mean simply that they will have lost their punch and associations merely through the detachment of the viewer
I highly recommend paying these statues a visit when in Rome. After all, like many other major tourist and historic sites in Rome, they are easily reached by bus. Too, a feeling of minor discomfort when approaching them adds a worthwhile contrast to the overwhelming beauty of other sculpture you will see in Rome. It is easy to be dazzled by the talent of artists and the perfection, even in imperfect bodily features, found with marble. These statues, however stunning they can be at first, also must make even the casual tourist reflect on history and on their intent.
