By Stephen Gundle
This precise tale of the 1950s murder scandal that rocked Italy portrays the Rome of romance, luxurious, and glamour—as good as a city of carnal crimes, intercourse, medications, corruption, and cover-ups
On April 9, 1953, an enticing 21-year-old lady went lacking from her relations domestic in Rome. Thirty-six hours later her physique used to be came upon washed up on a overlooked seashore at Torvaianica, 40 kilometers from the Italian capital. a few acknowledged it used to be suicide, others, a sad coincidence. yet might the mysterious demise of this quiet, conservative lady be associated with a drug-fueled orgy regarding the various richest males in Italy? The brief existence and tragic demise of Wilma Montesi used to be performed out opposed to a desirable backdrop. through the Fifties Italy, within the wake of Mussolini's brutal Fascist govt, used to be within the technique of reinventing itself, and with the aid of Hollywood stars similar to Audrey Hepburn and Gregory Peck, it succeeding. without warning Italy, and Rome particularly, used to be the main glamorous position in the world. however the homicide of Wilma Montesi uncovered a darker facet of Roman life—a lifetime of corruption, cover-ups, and carnal pleasures.
Read or Download Death and the Dolce Vita: The Dark Side of Rome in the 1950s PDF
Similar rome books
The Eternal Mercenary (Casca, Book 1)
From the instant Casca ran his spear throughout the torso of Jesus, the self-proclaimed "Son of God," he all started an unending lifelong trip jam-packed with struggle, loss of life, love, and heartache. At each flip of his sword, at each miraculously healed wound on his physique, at each break out from demise, the phrases of Jesus echoe madly via his brain, "Soldier, you're content material with what you're.
Among the deaths of the Emperors Julian (363) and Justinian (565), the Roman Empire underwent momentous alterations. most glaringly, keep watch over of the west was once misplaced to barbarian teams throughout the 5th century, and even though elements have been recovered via Justinian, the empire's centre of gravity shifted irrevocably to the east, with its point of interest now town of Constantinople.
Roman Pottery in the Archaeological Record
This e-book examines how Romans used their pottery and the results of those practices at the archaeological checklist. it truly is equipped round a circulate version for the existence cycle of Roman pottery that features a set of 8 exact practices: manufacture, distribution, top use, reuse, upkeep, recycling, discard, reclamation.
- Medusa's Gaze: The Extraordinary Journey of the Tazza Farnese
- I Cesari
- Rhetoric at Rome: A Historical Survey
- Rome (Galaxy Books)
Extra info for Death and the Dolce Vita: The Dark Side of Rome in the 1950s
Example text
Fig. 6 Fig. 8 Aurelius Apolaustus Memphius found in the sanctuary of Hercules Victor in Tivoli and set up by the local senate is decorated around the top with wreaths inscribed in Greek with the title of the tragedies for which he had won a prize (fig. 40 Seated statues were usually mounted on slightly lower and much deeper bases; the bases for equestrian statues were also usually lower and of course much deeper than the bases carrying standing statues (figs. 41 Bronze statues were fastened to the top by large dowels, which have usually left three large almost circular depressions, one for the forefoot of the ‘Spielbein’ and two for the forefoot and heel of the ‘Standbein’ (fig.
32 There is little in the literary sources to confirm the existence of such a law. , the limitation of awarding statues primarily to high ranking and distinguished senators, the gradual disappearance of images of non imperial persons from Rome’s public squares during the Early Empire, and the regulations imposed during the Late Empire,34 leave no doubt that certain restrictions did prevail. 35 The distinction in the honorific statuary of Republican Rome suggested by M. 36 There are two main reasons for this.
70 Whether the dedicant was an individual citizen or a civic organization or group, their name would appear at the end of the text. Like the name of the honorand, the dedicator’s name could be picked out in large letters. 73 Here, however, the name is not mentioned; the reference was made not to emphasise the sculptor’s talents but instead to highlight Regilla’s sophrosyne. Artists’ signatures on Roman portraits seem by and large to be confined to the East; when they freatured in the West, they are employed mainly by Greek artists.