XVI - 1571 - 1571

3483

Unità di misura: cm; Altezza: 43; Larghezza: 31

pergamena- inchiostro

Four parchment sheets of a pilot book of the Spanish and North African coasts bordering the Atlantic Ocean.

1915 - 1915 - XX

A.I.M.G. 82

Unità di misura: UNR; Misure mancanti: MNR

inchiostro-carta

On 5 May 1915, the monument to the Thousand was inaugurated in the presence of Gabriele D'Annunzio as the official speaker. In his speech during the solemn ceremony – contained in forty-five handwritten autographed pages – the Vate did not limit himself to presenting Eugenio Baroni's artistic work, but with rhetorical emphasis affirmed the need for Italy's intervention in the First World War. On 24 May 1915, Italy entered the war. This is the handwritten draft of the speech given by Gabriele D'Annunzio at the inauguration of the Monument to the Thousand in Quarto on 5 May 1915.

- XV

3726

Unità di misura: mm; Diametro: 221; Lunghezza: 1470

ferro battuto

It is a swivelling artillery piece: the fork-shaped support hinged on the ship's bulwarks allowed for rapid aiming. In this case, in the absence of a wooden carriage, the ram was contained in an iron extension at the rear of the trumpet, called a braga; it was open at the top to allow the ram to be inserted and had two opposing openings into which the retaining wedge was inserted.

GX1993.509

Unità di misura: cm; Altezza: 180; Larghezza: 80

olio su tela

After abandoning his legal studies, Geranzani devoted himself to painting by following Giovanni Quinzio's courses at the Accademia Ligustica di Belle Arti in Genoa. From his academic study of landscape, he soon moved on to research into Divisionist technique, arriving at a personal interpretation of pointillism characterised by a simplification and geometrialisation of forms. In 'Ritratto di signora' (Portrait of a Lady), the usual mosaic composition of his works, obtained through the use of dabs of colour, is replaced by broad brushstrokes of dark tones; but the angularity of the folds of the dress and the attention to the decorative pattern of the fabric reveal the permanence of a pictorial inspiration of Art Deco matrix. Oil on canvas depicting the left profile of a standing woman; the geometric drapery of the bodice contrasts with the soft forms of the rest of the work.

1909 - 1910 - XX

Sculture 19

Unità di misura: cm; Altezza: 70; Larghezza: 50; Profondità: 47

gesso

Sketch of the monument with which sculptor Eugenio Baroni won the national competition held to celebrate the fiftieth anniversary of the expedition of the Thousand. The young artist's design, inspired by the opening lines of Luigi Mercantini's Inno di Garibaldi (“Si scopron le tombe...”), stood out from the other competitors' entries for the originality of its sculptural solutions, which broke with traditional architectural conventions. Plaster sketch for the monument dedicated to the Departure of the Thousand.

Cat. 145

Tipo di misura: altezzaxlunghezzaxlarghezza; Unità di misura: cm; Valore: 86x42x79

Contenere gli strumenti per scrivere.

Portable writing set comprising a rigid parallelepiped-shaped case containing scissors, inkwell, nib, ruler and letter opener. In a small exhibition area inside the apartment where the Mazzini family lived and where Giuseppe was born, now home to the Mazzini Institute - Museum of the Risorgimento in Genoa, the young man's study has been reconstructed, featuring some of the tools he used for writing, some of which are on display here. From the black leather-covered document holder, engraved with the name Joseph on the flap, to the portable box with pens and inkwell, the case with small round glasses, and the cipher for secret communication. In addition to the precious notebooks from his youth, written in his unmistakable tiny handwriting on thin tissue paper (the Zibaldoni), there is also a double metal seal engraved with the initial “M” on one side and Giuseppe's nickname, 'Pippo', as he was affectionately called by family and friends. These are particularly significant relics because they reveal the enormous importance that writing and letters had in Mazzini's life, fundamental elements for his political and revolutionary activity. Through his frequent, tireless letters, he was able to guide the Italian Risorgimento movements from afar, keeping his teachings alive. These letters also show us the man behind the thinker and are invaluable in reconstructing the memory of a complex hero, capable of great emotional outbursts and marked by a profound humanity.

Cat. 146

Tipo di misura: volume; Unità di misura: cm; Valore: 19x25x14

Contenere le carte da gioco

Wooden box covered in leather; the interior is divided into vertical sections where cards can be neatly stored. In a small exhibition area inside the apartment where the Mazzini family lived and where Giuseppe was born, now home to the Mazzini Institute - Museum of the Risorgimento in Genoa, the young man's study has been reconstructed, featuring some of the tools he used for writing, some of which are on display here. From the black leather-covered document holder, engraved with the name Joseph on the flap, to the portable box with pens and inkwell, the case with small round glasses, and the cipher for secret communication. In addition to the precious notebooks from his youth, written in his unmistakable tiny handwriting on thin tissue paper (the Zibaldoni), there is also a double metal seal engraved with the initial “M” on one side and Giuseppe's nickname, 'Pippo', as he was affectionately called by family and friends.
These are particularly significant relics because they reveal the enormous importance that writing and letters had in Mazzini's life, fundamental elements for his political and revolutionary activity. Through his frequent, tireless letters, he was able to guide the Italian Risorgimento movements from afar, keeping his teachings alive. These letters also show us the man behind the thinker and are invaluable in reconstructing the memory of a complex hero, capable of great emotional outbursts and marked by a profound humanity.

XIX - 1827 - 1882

Cat. 590

Indossata sopra la camicia.

Red cloth jacket edged in dark green cloth and threaded in white, with two top pockets arranged obliquely and small metal buttons. This shirt, or vest, worn by Giuseppe Garibaldi, was long kept as a relic and finally donated to the Museum by Cristina Sizio, widow Figari, in 1960.
As is well known, the red shirts were the most recognisable symbol of Garibaldi's volunteers, protagonists of the campaigns for the unification of Italy in the 19th century. It was not just a garment, but an emblem of belonging, courage and revolutionary spirit. The colour red, initially chosen for practical reasons - they were work shirts readily available in South America - soon became a distinctive sign, capable of uniting men of different social backgrounds under a single cause: freedom and the independence of the homeland.

1801 - 1900 - XIX

83

Unità di misura: cm; Altezza: 81; Larghezza: 57

Tela-olio

Anita, diminutive of Anna Maria de Jesus Ribeiro, met Giuseppe Garibaldi in 1839 in Laguna, southern Brazil, where she was living with her husband. From that moment on, Anita would follow and be Garibaldi's companion, the mother of his children and the companion of all his battles. It is Garibaldi himself who describes in his “Memoirs” the meeting with strong romantic overtones and who fuels the legend of Anita as a passionate heroine, contemptuous of danger, who always remained at her companion's side. Garibaldi married her in Montevideo in 1842 and had four children by her.
This portrait is faithfully taken from Gaetano Gallino's miniature - the only one executed from life - kept at the Museo del Risorgimento in Milan. Half-length portrait of Anita Garibaldi, dressed in a dark dress with a lace neckline.