This structure, created of white marble – a colorful mixture of pompous kitsch, exaggerated pose and raw functionalism, was initially intended to be a training ground of a fascist paramilitary youth organization known as Opera Nazionale Balilla, which was tasked with raising Italian youth in the cult of a healthy, beautiful body in the image of Antiquity. It was to forge the man of tomorrow, sensitive to fascist ideals and instill in him a feeling of national pride and strength. Valuing ancient art and relating to it, built a bridge between contemporary times and the glorious times of the great Roman Empire. Antique decorations were used as well, in the form of monumental sculptures, bas-reliefs, or mosaics, intertwining the symbols of the Fascist dictatorship in them (today partially removed). In doing this ancient architectural formulas were used, recalling old forums and places of athletic competition. The name of Mussolini as that of emperors before him, was repeated in inscriptions, glorifying both him as well as the state (empire), which he ruled. It appears in mosaics and bas-reliefs imitating the antique ones, but most of all on the great obelisk built in his honor with the inscription „Mussolini Dux” (1932), which is the focal point of the arrangements.

The idea behind creating Foro Mussolini sprung up at the end of the 1920’s in the head of the architect Enrico del Debbio and he was the person who supervised works on the complex until 1933. Then his place was taken by his rival, a young architect with a completely different architectural vision, Luigi Moretti, who oversaw the works until 1941. In the following years, the plan of the structure was modernized, improved and enriched by new ideas, mainly after Italy announced its candidacy to host the Olympic Games in 1940. This was an excellent opportunity to present to the whole world not only Mussolini’s achievements, but also those of Italian architects and city planners. It was then that the idea came about to create a colossal statue of Hercules out of bronze with the facial features of Mussolini, which would top off the complex from the northwestern side (not completed). Individual parts were gradually completed until 1938. Then the construction of the monumental building of Palazzo del Littorio, the main office of the Fascist government (presently the seat of the Italian Ministry of Foreign Affairs), also known under the name Palazzo della Farnesina, began, but was not completed until 1959.

The organization of the Summer Olympics in 1940 at Foro Mussolini did not come to pass, as the candidacy of Rome was discarded. Initially Japan was chosen as host nation, then Helsinki, but ultimately because of the outbreak of World War II, the event was cancelled. The idea of hosting Olympic Games here was not implemented until after World War II, in 1960.

Foro Mussolini was made up of buildings which were completed starting in 1928 during subsequent anniversaries of the constantly recalled March on Rome, which in Fascist propaganda had grown to the rank of the founding myth of a reborn Italy, under the rule of Duce.

The structures making up Foro Italico:

• Piazalle dell’Impero (1937). Crossing the Tiber by way of Ponte Duca d’Aosta, specifically built for that purpose, we stand on the axis of a great square (Piazza dell’Impero), of which the dominant, inaugural element is the aforementioned obelisk built to honor Duce (its initiator was Constantino Constantini). Behind it, stretches a sort of a promenade designed by Luigi Moretti, at the end of which there is a fountain with a stone globe. Looking from the side of the stadium, the perspective is built by rows of cubes, at the junction of which there is the Duce Obelisk. The surface of this representative promenade is laid with black and white mosaics pertaining directly to ancient decorations among which we can see the inscriptions, similar to those which were in the past dedicated to great leaders: DVCE (leader), DVCE A NOI (Our Leader), MOLTI NEMICI MOLTO ONORE (Many enemies, much honor), or DVCE LA NOSTRA GIOVINEZZA A VOI DEDICHIAMO (Duce, we give you our youth). In total Mussolini’s name was engraved in this place 264 times. It is a kind of apotheosis of Duce and in an artful way a depiction of the mythology of the rule of Mussolini: in chronological order, such scenes are presented here as, the creation of armed squads in 1919, the March on Rome in 1920, the establishment of new Fascist cities (Littoria, Pontinia, Aprilia), the declaration of war on Ethiopia (1935), the proclamation and establishment of Mussolini’s Empire (1936). The square according to the ideas of Moretti was to be „monumental, sanctified and intended for processions”, of course in the spirit of the antique imperial cult and of contemporary fascist one.

• Stadio dei Marmi (1932). On the right side of Piazzale dell’Impero stretch the buildings of the then Accademia Fascista di Educazione Fisica (The Fascist School of Physical Education), which was established in 1928.The stadium itself, in the past used as a football pitch (currently for athletics), is the grandest structure of the whole complex. It is richly decorate with figures of nude athletes sculpted out of marble (64 pieces), surrounding the stands and the entrance to the stadium. They represent individual sport disciplines; thus there are shot putters, javelin throwers, runners…The bases of the figures are named after Italian cities which funded these works of unnatural size, which are an anthem in the honor of the beauty of human (male) body. It is impossible to overlook strength, heroism, dignity, and concentration which characterize the sculptures of the athletes, which sometimes in a better or worse way pertain to these types of representations from the times of Antiquity. At the same time it is impossible not to notice something monstrously pompous and absurd in the figures of this army of naked, oozing with sexuality superheroes, especially since some of the images must truly make us laugh – such as a nude skier.

• Opposite Piazalle dell’Impero stretches the great Olympic stadium (Stadio Olimpico), once called Stadio dei Capresi (1932). It has been reconstructed and extended multiple times, thus completely losing its initial form. Currently it belongs to two noteworthy football clubs – Lazio and AS Roma (since 1953). It seats over 80 thousand fans. It is here that the Summer Olympic Games of 1960 were inaugurated.
• On the left of the obelisk we enter the area of the tennis courts, decorated similarly to Stadio dei Marmi, with monumental figures of athletes, but not only. We will also find Mussolini’s soldier here, symbolizing the time of Italian expansion. As opposed to the previously described athletes the nudity of these here has been partially covered with the often used motif of grape vine leaves, as well as the more „modern” swimming trunks.
• Moving towards the Tiber, it is impossible not to notice the Palazzo delle Terme (1937) – a swimming pool, or more appropriately a complex of indoor swimming pools, designed by Constantino Constantini, which is entered going up monumental steps. The interior itself is maintained in the spirit of rationalism which was near and dear to Constantini. Decorated with mosaics and white marble still pulses with the aura of the times of Mussolini, despite the fact that after World War II its shape was for the most part altered, to accommodate the needs of the upcoming Olympiad.

• Casa delle Armi, also known as Accademia di Scherma. Moving southwest from Foro Italico, passing the buildings of the tennis courts, we reach a surprising building (located near the footbridge on the Tiber). It is the often neglected and presently awaiting renovation one of the most modern buildings of the era of Mussolini. It was built in 1936 as a fencing hall. It designer was Luigi Moretti. If not for the mosaics depicting mythological figures, found on one of its walls and clearly showing the time of its construction, the L-shaped building could pass for an almost contemporary structure. It was built in the spirit of Italian rationalism in architecture and is a veritable pearl of this trend in architecture, which developed in Italy in the second half of the 1930’s. It is exceptionally interesting to compare this work with the nearby building of the then Accademia Fascista di Educazione Fisica. Despite the fact that they were built only 8 years apart, they seem to come from two different epochs. It shows the unbelievable acceptance of the Mussolini regime for modern architecture, of admiration for world achievements in this field, which can be seen in Italy of the 1930’s, and of its desire to create on its foundation, a new, truly original, fascist quality. It must be admitted that architects of that time succeeded to a great extent.

Foro Italico is bereft of a throng of tourists searching for historical specialties. It seems to carry on, with is somewhat peripheral, yet still athletic life. Children play football on the pitch, parents look on the struggles of their pupils from the stands, the tennis courts are filled with elderly men wanting to relax during work, while in front of the steps of the swimming pool parents await their children while having a conversation or smoking cigarettes. However, the old times sometimes come back to life, when the Lazio psycho fans or members of far-right organizations demonstrate their political views, stretching out their right arms in a Fascist greeting.

Also see: category Virtual trip, Foro Italico