The bridge was designed at the end of the thirties of the XX century in order to connect two northern parts of the city in the area of the Parioli district. In face of the increased automobile traffic which appeared due to the rapid development of urban areas on the other side of the Tiber, the Milvian Bridge (Ponte Milvio) located nearby was not enough. In addition Benito Mussolini’s Italy began to prepare for the Olympics, thus a sports complex (Foro Italico) was built nearby.

The author of the design, was one of the valued, albeit controversial architects of the Fascist era - Armando Brasini. After completing a series of buildings which were judged rather skeptically by other architects as well as Duce himself, the hour of his triumph was finally upon him. The artistic concept of Brasini was the perfect image of a bridge, which was to commemorate a significant moment in the history of Fascist Italy – the anniversary of the March on Rome, which took place on 28 October, 1922. It was also to recall the ancient roots of the city while in a symbolic way connecting imperial Rome with the contemporary one. Thus it was not simply to be bridge which would serve commuters, but also would be used as a resting place, and even a place of thought in the shadow of columns, victories, eagles, small pools, and lanterns – bombastic and grand, as were all of Brasini’s structures. It is adorned with colossal, cylindrical columns, cubes and conic lanterns reminiscent of imperial columns (Colum of Trajan, Column of Marcus Aurelius), while the walkways are more than just practical sidewalks – their monumental, approaching the line of the street steps, made them similar to those of temple porticos. At the entrances onto the bridge there are eagles and bas-reliefs depicting a she-wolf with twins, recalling the beginnings of the city on the Tiber. There also had to be room for the typical for Rome fountains – twelve in number (of three different types) they were put her in order to quench thirst and provide relief on hot days. As if that was not enough, on one of the edges of the bridge, the architect planned an enormous arch, which was to commemorate the beginning of a new era in Italian history. This element which was a reference to the immense triumphant arches of ancient Rome, was reportedly, at the order of Duce, rejected. The bridge itself acquired a new name: from the Bridge of 28 of October it became Mussolini’s Bridge.

Its construction was started in 1939 and with the use of immense resources it was continued until allied air strikes in 1943, which proved to be the beginning of the end of Fascist Italy. After the fall of Mussolini works were continued, however the name was changed to Ponte della Libertà (The Bridge of Liberty). It was finally completed in 1951. However, the new name did not last long. Ten years later it was once again changed to a less pompous and less ambiguous Ponte Flaminio, a reference to a street of the same name with which it connects on the other side of the Tiber.

The bridge is 255 meters long and has seven spans. Today, covered with graffiti and the wear and tear of time, it is much less impressive than in the past. Nobody sits down at its base, on the shore of the Tiber, to take advantage of the coolness of the fountains placed there. The ones found on the bridge itself are presently not in operation and we would also be hard-pressed to find someone enjoying a stroll on the bridge. Cars pass through it rather quickly, while drivers only seldom notice its decorations. In 2017 it was cleaned and once again sparkles with whiteness, albeit not as pristine as in the past, but it once again stimulates reflection on the role of an architect in public life. And while today, its stylistic megalomania may strike some as inappropriate, its theatrical beauty cannot go unnoticed.