The construction of the Colosseum — atthe time known as the Flavian Amphitheaterbegan in 72 AD under Emperor Vespasian, ofthe Flavian dynasty. The work was financed, likeother public works of the period, with the proceeds of provincial taxes and the spoils of thesack of the Temple of Jerusalem (70 AD).
In 1813 was found a block of marblereused in the late period, which still bore theholes of the bronze letters of the dedicatory inscription, originally placed above an entrance: thetext has been reconstructed as follows:
"Emperor Caesar Vespasian Augustus hadthe new amphitheater erected with the proceeds ofthe spoils."
How far was documentary photography or sensationalist photography from his perception? If we are still investigating this presumed dialogue, what is certain is that the history of photography has made Pasolini's face one of the most famous icons of our time: his extraordinary expressive energy outlines an image around whose essence historians and public opinion continue to question and divide.
Pier Paolo Pasolini is in the shots of Mario Dondero, Dino Pedriali, Sandro Becchetti, Federico Garolla, Paolo Di Paolo, Mario Tursi, Angelo Novi,Mimmo Cattarinich, Maril Parolini, Angelo Pennoni, Deborah Beer, Divo Cavicchioli, Paul Ronald, Giovanni Giovannetti and Letizia Battaglia. " I was looking for him" says the photographer and she found him, in Milan, in 1971. She rediscovered the precious negatives after thirty years and still today, looking at them, she says she is infinitely grateful for that encounter.
Four hundred and more years of the Fair have imprinted in the DNA of the city the passion for the market, the aptitude for exhibiting and selling. The vitality of the city was founded around the river Misa, on which ships and boats docked in front of the Vanvitellian Portici Ercolani, which were to be reflected on the other side of the river, creating a sumptuous and scenic entrance for those coming from the sea.
The earthquake of October 1930 marked the end of an era. And of an image. It was built outside the walls, leaving abandoned the symbolic places and all the squares became parking lots. Only in recent decades has the restoration of the heart of Senigallia given back to each monumental building and square its own identity, re-establishing the respect between past and present. Heritage is literally the cultural legacy of the generations that preceded us