L'Italo-Americano

THURSDAY, OCTOBER 3, 2024 www.italoamericano.org 10 L'Italo-Americano O n e o f R o m e ' s m o s t f a m o u s landmarks, the S p a n i s h Steps (Scalina- ta di Trinità dei Monti), has become the subject of a recent ownership dispute between Italy and France. While this iconic site has long been asso- ciated with Italian culture and history, a recent report from the French Court of Auditors raised questions about the legal status of the monument. This unexpected tension, dri- ven by historical claims and modern political complexi- ties, has been stirring debate on both sides of the Alps. The Spanish Steps were designed by Italian architects Francesco De Sanctis and Alessandro Specchi, and were constructed between 1723 and 1726. The impres- sive 136-step staircase was built to connect Piazza di Spagna at the base with the Trinità dei Monti church at the top, an area that is now one of Rome's most famous tourist attractions. The con- struction of the steps was financed by Étienne Guef- fier, a French diplomat and philanthropist, who left a sig- nificant sum of money in his will specifically for this pur- pose: this French connection, despite the monument's Ital- ian location and design, is the crux of the modern-day dis- pute. E a r l i e r t h i s m o n t h , t h e F r e n c h C o u r t o f A u d i t o r s reignited the long-dormant debate over ownership and responsibility for maintaining the Spanish Steps, by seeking a "confirmation of the legal s t a t u s " o f t h e s t e p s , a n d implying that France has a historic stake in the site due to the French financing of its c o n s t r u c t i o n . T h e F r e n c h Court of Auditor's report also criticized the maintenance of the Spanish Steps, alleging n e g l i g e n c e b y t h e I t a l i a n authorities in their upkeep over the years. Pierre Mos- c o v i c i , P r e s i d e n t o f t h e Court, attempted to downplay the controversy, stating that the report was not intended to assert ownership but to clarify responsibilities regarding maintenance and restoration. However, this reassurance has done little to quell the tension. Italy's response has been s w i f t a n d u n e q u i v o c a l : Tourism Minister Daniela Santanchè, known for her strong nationalistic stance, publicly decried France's p o s i t i o n , s t a t i n g , " W h a t w o u l d F r a n c e b e w i t h o u t Italy? They cannot do with- out our luxury, our works or art, our beauty. But this is too much now. They even want to take the Spanish Steps of Trinità dei Monti." Other Italian officials echoed San- tanchè's view; Fabio Ram- pelli, Vice-President of the Chamber of Deputies, sarcas- t i c a l l y s u g g e s t e d t h a t , i f F r a n c e i n s i s t s o n t h e s e claims, Italy might need to reassess its cultural losses at the hands of the French — Rampelli's comment referred t o t h e n u m e r o u s I t a l i a n works of art that were taken to France, particularly during the Napoleonic era. However, it's important not to forget that the debate over the Spanish Steps is not an isolated incident but part of a broader discussion about France's historical and cul- t u r a l p r e s e n c e i n R o m e . France owns several churches in the city, including Trinità d e i M o n t i , S a n L u i g i d e i Francesi, and Sant'Ivo dei Bretoni. These properties, along with others such as the p r e s t i g i o u s V i l l a M e d i c i , w h i c h h o u s e s t h e F r e n c h Academy in Rome, are main- tained under international agreements that date back to the 18th century. In 1790, Pope Pius VI entrusted Car- dinal François-Joachim de Pierre de Bernis, the French Ambassador to the Holy See, with the protection of these r e l i g i o u s b u i l d i n g s ; t h e French institution known as the Pieux Établissements was established to manage these properties, and they continue to be overseen by this body today. However, things have not always been smooth: during Mussolini's fascist regime, Italy made an unsuccessful attempt to reclaim the prop- erties from the French, fur- ther exposing the longstand- ing tensions over cultural and religious heritage in Rome between the the two nations. As implied in Fabio Rampel- li's statement on the subject, the Italian pushback against France's claim to the Spanish Steps is tied to a deeper cul- tural resentment that origi- nated in the Napoleonic era: let us understand why. D u r i n g t h e N a p o l e o n i c Wars, France famously loot- ed art and cultural treasures from across Europe, particu- larly from Italy. This large- scale theft, described by art historian Paul Wescher as "the greatest displacement of w o r k s o f a r t i n h i s t o r y , " i n v o l v e d t h e r e m o v a l o f p r i c e l e s s a r t w o r k s f r o m museums, churches, and pri- vate collections. Among the most famous works taken were Leonardo da Vinci's Mona Lisa and Andrea M a n t e g n a ' s M a d o n n a della Vittoria, both now housed in the Louvre Muse- um in Paris. While some loot- ed works have been returned t o I t a l y , m a n y r e m a i n i n France, leading to periodic calls for their repatriation. For instance, Luciano San- d o n à , p r e s i d e n t o f t h e Regional Commission for Institutional Policies in Italy, r e c e n t l y s e n t a l e t t e r t o French President Emmanuel M a c r o n , r e q u e s t i n g t h e return of Paolo Callari's Wed- ding at Cana to its original location in Italy. So, calls for the return of Italian masterpieces are not new, but they gain urgency whenever disputes such as t h e o n e o v e r t h e S p a n i s h Steps arise. At the heart of the debate, though, is the complex question of how cul- tural heritage should be man- aged and who has the right to oversee historically signifi- cant sites. And, in the end, while the French involvement in the Spanish Steps' con- struction is undeniable, Ital- ian authorities have managed the site for centuries, with R o m e ' s c u l t u r a l o f f i c i a l s pointing, for example, to the c i t y ' s o n g o i n g e f f o r t s t o r e s t o r e a n d m a i n t a i n t h e steps, including major reno- vations in 1995 and 2014. The monument, they argue, is an integral part of Rome's urban fabric and a public thoroughfare that belongs to Italy. Claudio Parisi Presic- ce, superintendent of Cultur- al Heritage for Rome, clari- fied the matter, stating that while the French have a his- t o r i c a l c o n n e c t i o n t o t h e Trinità dei Monti church, the steps themselves have always been managed by the Italian municipal authorities. He emphasized that the steps are "an integral part of Rome as the capital of Italy." While it is unlikely that the Spanish Steps will become French territory — or even be managed by French authori- ties — the current dispute is a reminder of the deep inter- play of European cultural his- tories, and of how many sites across the Old Continent are symbols of a shared heritage that goes beyond modern geopolitical borders. Yet, the practical and legal manage- ment of these sites remains a source of contention. In this case, the solution m a y l i e i n w h a t P i e r r e Moscovici alluded to: clarify- i n g t h e l e g a l s i t u a t i o n t o ensure that both nations can cooperate on the upkeep of the Spanish Steps without rekindling old rivalries. GIULIA FRANCESCHINI The Spanish Steps: are Italy and France fighting over their ownership? The iconic Spanish Steps are at the center of a lively debate between France and Italy (Photo: Sborisov/Dreamstime) LA VITA ITALIANA TRADITIONS HISTORY CULTURE

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