The town of Pomezia, 25 km from Rome - of vaccines, Fascism, World War II

Bill looks like he's in a de Chirico painting here in Pomezia

We were surprised to learn that Pomezia, a small town created from scratch by the Fascists (inaugurated in 1939) in the Agro Pontino outside of Rome, is the site of the maker of one of the most promising Covid-19 vaccines. We knew nothing about that when we visited the town - several times in years past. We tried to figure out how we missed such an important industry. You may have heard of the Advent vaccine. That vaccine is being developed by Advent, which is an offshoot of Pomezia's IRBM, together with Oxford University. Some recent information on this vaccine trial is here. It's the Astra-Zeneca vaccine whose trial was halted for a while and is now restarted.

Our mission in the times we went to Pomezia was to view the Fascist architecture (see here for a reference to other forays) and visit the WWII German Cemetery. In those days, we were exploring the iconography of war cemeteries in and around Rome (e.g. here).  

Dianne posing with enormous fasci
 in a doorway, likely to the town hall.
The year is listed as "A. XVII E.F. -
Era Fascista, year 17 (or 1939)

We stopped in Pomezia's main square to get the requisite coffee (see Bill above) and saw some signs indicating there was to be a celebration of Garibaldi. We think that's the subject of the painting above.

We didn't have to look hard for the Fascist architecture.  Here are a couple examples (left and below, plus photo at top). There are more at the end of the post.

We then headed to the cemetery, which is only a short ways out of the town center. It's beautifully maintained and peaceful, the resting place of almost 30,000 German soldiers, some of them "unknown." 

I'll skip a description of the cemetery here, since our friend and Dante scholar, Virginia Jewiss, has written eloquently about it, and I want to give more space to her analysis in a later post.

The question remains, where is the famous laboratory making these vaccines, and why did we - who scour towns and cities - miss it?

It turns out the lab is very close to the town center, across the notorious via Pontina. It appears to be not very visible from the road (on a higher piece of land).  No doubt we scootered right past it.  See maps below.

IRBM Science Park. Pomezia's town center is at the upper right. This photo is looking South.

The map below right shows the IRBM plant on the map - at Google's inverted red drop -  with Pomezia's town center just to the West. The red cross below the green space (the town cemetery) shows the location of the German Cemetery - so obviously, we scootered right by the IRBM facility.

Italy's important connections to the Covid-19 vaccines also include a glass manufacturing company near Venice, founded in 1949 to make bottles for perfume and liquors, now devoting itself to glass vials for the vaccines. Forbes featured the family-owned company in an article here.

Jewiss says there's some irony that Pomezia, a town designed to laud the Fascists, is the resting place of Germans who fought with, and then against, the failed Italian regime. I view the cemetery as a cautionary reminder of the wages of war, and Pomezia now as a sign of the future - waging a different war - against the virus.

More on the German cemetery, and some of Jewiss's interpretations of its iconography, in a subsequent post.

Dianne

Church - a central church was a
part of all the Fascist "new towns."

Pomezia's "GIL" or  youth center
(Gioventu' italiana del littorio -
the Fascist youth movement party),
the letters framed by two fasci.

 

A 50th anniversary monument (1990), testament to the town's forefathers - note the hand-driven agricultural equipment as the main symbol.

The ubiquitous "Bar dello sport,"
with a very nice 1953 decoration above the door,
echoing the style of Fascist figures
and also the town's agricultural founding.

Fascism's Architectural Legacy: The Colonie di Vacanza



Camp "Fascismo Novarese," in Miraare di Rimini. 
Original photo by Dan Dubowitz, c. 2005

 In the 1930s and early 1940s, Mussolini's Fascist regime constructed 23 colonie di vacanza--literally vacation or holiday camps, but perhaps better translated as summer camps.  Reflecting the imperially-driven Fascist enthusiasm for the sea, only 2 camps were in mountain areas, while 21 were located on the Tyrrehenian Sea or the Adriatic, including several in Riccione, 2 in Tirrenia, 3 in Calabrone, and 3 in Marina di Massa.  The location of the camps also meant they were far removed from the families and communities of those who attended, and far removed, too, from the decaying small towns that threatened Fascism's efforts to present the country as progressive and modern.  Each of the camps housed between 450 and 900 young men. 



On the beach at the "Dalmine" camp, in Riccione

The camps were created under the auspices of la Gioventu Italiana dell' Littorio (the GIL, which translates as Italian Fascist Youth), and the campers were mostly Italian boys and young men between the ages of 9 and 20, mostly members of a variety of Fascist-organized youth groups, and the children of the urban poor were heavily represented.  The boys were there to be trained, hardened, and organized into young people loyal and committed to the Fascist cause: ready to "Credere, Obbedire, Combattere" (Believe, Obey, Fight).  As one might expect, there was much marching, flag-raising, and saluting; lots of sports, including gymnastics; and, of course, plenty of fresh air.  At least one camp had a small theater. 








The ramps at this camp helped create the Fascist spectacle.

 But there was also a fantastical element to camp life, meant to inspire and mesmerize.  Several of the camps featured large and elaborate open stairways (photo left).  At the "Fascismo Novarese" camp (900 beds) near Rimini, the stairway was a way of making the movement of the young men into a spectacle of Fascism.  At the "Costanzo Ciano" camp in Cervia, designed by Mario Loreti and built between 1937 and 1939, "the huge Piranesian ramps" (according to one authority) "today overgrown with fig trees, were intended for synchronized displays of marching Balilla"  (a Fascist youth organization).  Think of the Busby Berkeley films of the 1930s, the synchronized dancers helping Americans to believe in the idea of melding the individual into the group, the virtue of collective action, the body as a machine contributing to the greater good. 

A playful building at camp "Roberto Farinacci"

A young man attending the colonia "XXVIII Ottobre" (1932), in Rimini, a camp intended to house the male children of expatriate Italians, recalled another kind of summer camp magic:  "In the restaurant there were people dancing the tango in bathing suits, like in a Fellini film.  A marvelous world."   One imagines this young man impressed, too, as he approached the dormitories, which resembled locomotives and steamships.  On the most elemental level, it was expected that every camper would come away with enthusiasm for Fascism's boundless future, gleaned from living in specially designed buildings and spaces that captured Fascism's energy and dynamism.  A postcard for the "Ciano" camp, featuring a large triumphal arch, presents Fascism's imperial ambitions and its efforts to link the ambitious Italian nation with its imperial Roman heritage. 



A dormitory at the "Rosa Maltoni Mussolini"
camp, at Tirrenia, designed by Mazzoni.
Photo by Dan Dubowitz

Most of the camps were designed in a the rationalist style pioneered by the Bauhaus, and often by skilled and creative architects and engineers.  The camp "Rosa Maltoni Mussolini," at Tirrenia, near Pisa (1925-35) was designed by Angiolo Mazzoni, who also created the grand side aisles of Rome's Termini Station and the lovely towers to its rear.  The dormitories--even those dressed with Mazzoni-designed furniture--were stark and plain, perhaps reflecting Mussolini's revulsion at the materialism and acquisitiveness of Italy's bourgeoisie.


The typical stay was only 15 days, a tolerable period, one would imagine, no matter what the conditions.  Nonetheless, the disciplinary reputation of the camps led some parents to use attendance as a threat for misbehaving.  The phrase "ti mando in colonia" circulated widely: "behave, or I'll send you to camp." 


Camp "Vittorio Emanuele II"  (1934-38) in Calambrone.
Photo by Dan Dubowitz, c. 2005

 We first became aware of the colonie di vacanza (sometimes referred to as colonie di infanzia) in May, when we trekked to The British School of Rome, on via Antonio Gramsci, for a show of Dan Dubowitz photographs, "Fascismo Abbandonato," with commentary by Dubowitz and his co-worker, architect Patrick Duerden.  The extraordinary photographs reveal, and the title of the show--Fascism Abandoned--reflects, that most of the colonie structures have long been abandoned, many beyond hope of repair--and now, some occupied by squatters--an unfortunate end for distinguished modernist works of architecture.  (You can see more of Dubowitz's photos on this website.)   According to Dubowitz and Duerden, these buildings were abandoned soon after the war, primarily because of the fear that to restore and reuse buildings so deeply identified with Fascism might have contributed to its resurgence. 

Bill