(ANSA) – ROME, DEC 14 – The darkness of the past “thickens for those who presume to illuminate them with their knowledge, but those who humbly approach the unknown, seeking the truth, become accustomed to the dim light and glimpses, distinguishes, touches but no”.
Giacomo Boni (Venice, 1859 – Rome, 1925) wrote it, one of the most important Italian archaeologists between the 19th and 20th centuries. He was a forerunner in innovative excavation methods, starting with the stratigraphic one and in the new concepts of restoration and enhancement of the heritage, becoming a reference figure. Giacomo Boni is dedicated to him in the Archaeological Park of the Colosseum. The dawn of modernity “(15 December -30 April), a widespread exhibition, in the places where the archaeologist mainly worked: the Roman Forum (whose excavations he directed since 1898) and the Palatine Hill (where he was director of excavations from 1907).
Among his discoveries, made also thanks to the photos of the archaeological areas he made from a hot air balloon (present in the exhibition), there are the Temple of Vesta, the complex of the sacred spring of Giuturna and the medieval church of Santa Maria Antiqua. “Giacomo Boni was a great Italian, a precursor, not only for the extraordinary works done in this park but because he realized a century before that the protection of the heritage and its enhancement had to be united, all that is written in article 9 of the Constitution, what we have tried to do in recent years “explains culture minister Dario Franceschini. The exhibition, curated by Alfonsina Russo, Roberta Alteri, Andrea Paribeni with Patrizia Fortini, Alessio De Cristofaro and Anna De Santis, organization and promotion of Electa, is divided into four sections: the archaeological activity and the forensic museum (“which we reopened to the public after decades of closure “explains Alfonsina Russo, director of the Colosseum Archaeological Park), in the Santa Maria Nova Complex; the life of Boni, at the Temple of Romulus; the discovery of the church and the Byzantine pictorial cycle, in Santa Maria Antiqua and in the Domitian ramp; the cultural and artistic context of the early twentieth century, in the Farnesian Uccelliere. (HANDLE).
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Source From: Ansa
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