[Illustration:  THE UNION OF ITALY.  SACCONI’S PRIZE DESIGN FOR THE NATIONAL MONUMENT, ROME, ITALY.]

The height and size of the monument were not determined on, nor was the exact location, and the competitors had full liberty in relation to the artistic character of the monument, and it was left for them to decide whether it should be a triumphal arch, a column, a temple, a mausoleum, or any other elaborate design.  This great liberty given to the competitors was of great value and service to the monument commission, as it enabled them to decide readily what the character of the monument should be but it was a dangerous point for the artists, at which most of them foundered.  The competition was resultless.  Two prizes were given, but new designs had to be called for, which were governed more or less by a certain programme issued by the committee.

In place of the Piazza de Termini, a square extending from the church of St. Maria degli Angeli to the new Via Nazionale, to which preference was given by the competitors, the heights of Aracoeli were chosen.  The monument was to be erected at this historic place in front of the side wall of the church, with the center toward the Corso, high above the surrounding buildings.  The programme called for an equestrian statue of the King located in front of an architectural background which was to cover the old church walls, and was to be reached by a grand staircase.

Even the result of this second competition was not definite, but as the designers were guided by the programme, the results obtained were much more satisfactory.  The commission decided not to award the first prize, but honored the Italian architects Giuseppi Sacconi and Manfredo Manfredi, and the German Bruno Schmitz, with a prize of $2,000 each; and requested them to enter into another competition and deliver their models within four months, so as to enable the commission to come to a final decision.  On June 18, the commission decided to accept Sacconi’s design for execution, and awarded a second prize of $2,000 to Manfredi.

Sacconi’s design, shown opposite page, cut taken from the Illustrirte Zeitung, needs but little explanation.  An elegant gallery of sixteen Corinthian columns on a high, prominent base is crowned by a high attica and flanked by pavilions.  It forms the architectural background for the equestrian statue, and is reached by an elaborately ornamented staircase.

Manfredi’s design shows a handsomely decorated wall in place of the gallery, and in front of the wall an amphitheater is arranged, in the center of which the equestrian statue is placed.  Bruno Schmitz’ design shows a rich mosaic base supporting an Ionic portico, from the middle of which a six column Corinthian “pronaos” projects, which no doubt would have produced a magnificent effect in the streets of Rome.

* * * * *

ON THE EVOLUTION OF FORMS OF ORNAMENT.