The exhibition ends with an immersive installation. As the visitor reaches the center of the room, through digital technology theyexperience in new and engaging terms what they havejust observed in the analog sections.
The immersive space allows the public to return to the contents of the exhibition, to relive and assimilate them in the sphere of emotions, to literally enter the works of art on display, so as to appreciate their details, as well as to verify through the monuments how much the memory of Giuseppe Mazzini remains alive and relevant in Italy and the world, many years after his death.
To achieve these goals, the digital narrative is divided into four stages, or chapters:
Silvestro Lega, the artist. The visitor traces Silvestro Lega's career through the works, with a particular focus on Risorgimento themes. From the canvases of his beginnings in the 1840s, we reach the fateful March 1872, when the artist, reached by the news of Giuseppe Mazzini's death, immediately ran to his bedside.
Giuseppe Mazzini's last moments. Lega conceived the work on March 12, 1872, in the presence of the Father of the Fatherland's body, and completed it in the late summer of 1873. A succession of shots allows us to get into the heart of Lega's execution technique, until we discover the secret of each brushstroke.
Giovanni Spertini and an unpublished bust of Giuseppe Mazzini from 1878. The fortunes of Giuseppe Mazzini are also reflected in his portraits. The power of digital allows for a close appreciation of the fine marble bust that was sculpted in 1878 by Lombard Giuseppe Spertini and has just entered VIVE's collections.
The memory of Giuseppe Mazzini: public monuments. Visitors retrace some of the main monuments dedicated to Giuseppe Mazzini in Rome, Italy, and around the world. Even so, it is easy to see that their numbers are significantly fewer than those of other Fathers of the Fatherland, from Victor Emmanuel II to Giuseppe Garibaldi.