Can a monument be both celebrated and exiled? Here, at the edge of the Parco delle Cascine in Florence, stands the Re Vittorio Emanuele II Statue. This imposing bronze figure, riding astride his steed, tells a tale not only of a king but of Florence’s fickle heart. The statue, designed by Salvino Salvini and later modified by Emilio Zocchi, was meant to take center stage in the bustling heart of Florence. However, fate, it seems, had other plans. Unveiled in 1890 in Piazza della Repubblica, the monument received a lukewarm reception. Florentines found the artistry uninspiring. The king, who had only briefly graced Florence with his presence, didn’t capture their hearts like he did in other Italian cities. The decision was made: the Re Vittorio Emanuele II Statue would be moved. In 1932, it found a new home here, in this peaceful corner of the park. The base of the monument tells a story of its own. Two bronze bas-reliefs depict pivotal moments: the king’s departure to claim Rome and his receipt of the Tuscan plebiscite results, signifying their union with the burgeoning Kingdom of Italy. Look closely, and you’ll notice a sense of quiet dignity about the statue. The king, clad in military regalia, sits astride a calm horse. Unlike the triumphant, charging steeds found in monuments dedicated to him in other cities, this horse seems almost contemplative. Perhaps it reflects the missed opportunity, the hope that the king would remain in Florence, making it the true heart of Italy. Ultimately, the Re Vittorio Emanuele II Statue, in its exile, serves as a potent reminder of the ever-changing tides of history, art, and the delicate dance between a city and its rulers.
Santa Lucia alla Castellina
“A sanctuary of art and faith””. You might say that about many places, but here at Santa Lucia alla Castellina,