Overpass Farnese across via Giulia, about 1910.
Via Giulia aristocratic and chic at the dawn of the '900 is already a myth. Its route was conceived at the time of Giulio II in line with the urban politicy of the popes of the Renaissance, influenced by the relationship between political power and patronage, architecture and visual arts, was part of a great utopia. The fragment that remains justified more than ever that compagny, even if the road is miserable here and there by ugly dissonance, like the desolate area of San Filippino and the hole was patched up to the Florentines.
In the picture we see the intersection with Via del Mascherone. A little further opens the arch that once would have had to connect the Palazzo Farnese (right outside the fence) with the gardens of the Farnesina (Foreign Ministry). On the left, then, the bell tower of Santa Maria dell'Orazione e Morte (Prayer and Death). The artery is populated by humans varies: a young man who flaunts his first long pants; a lady in a cloche hat and parasol, a seller of goal with her escort of sorghum arm, and the street sweeper at work, while the horse between the shafts of a cart carrying drank from the fountain of Mascherone, left off.
A publicity in the corner talking about "Car for city and country" and "Commerce of coaches", knows what could be his target in the noble street. Fifty years later via Giulia, the example of the architect Lizzani, brother of the registers Carlo, was elected to a VIP address for each category.
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