Shaping and remembering an imperial city, 1870–1911
David Atkinson, Denis Cosgrove, and Anna Notaro
the classicalinheritance which was considered a vital ingredient of Italy’s modern
national consciousness. In myriad ways, Rome’s reworked landscapes were constantly
interwoven with references to the idea of empire, metaphorically and literally.
This theme reached a spectacular apotheosis in the most self-consciously
referential symbol of the Liberal state – its national monument, dedicated on 4 June
1911 to the memory of the first king of a united Italy, Vittorio Emanuele II ( Figure 6 ). While public and national
familiar to Dugdale’s gentry readership. By invoking them
at the start of his work, Dugdale was implicitly associating Warwickshire with
this classicalinheritance. Similarly, William Grey linked his work to both
classical and national historians: ‘Greece had his Homer. Rome his Virgil.
Our Britons had their Gildas. Saxons had their Beda. England had of late his
learned Camden, and painfull Speed’ – so Newcastle was to have its Grey.41
Although each edition of Camden’s Britannia included more Anglo-Saxon
and medieval material, it remained a monument to the importance of
inclinations, so too they restricted
his aesthetic leanings.
Although Adler viewed many aspects of the non-Jewish world positively, there were other aspects which, as a traditionalist, he could not
approve – for example, faiths other than Judaism. He criticised Greek
polytheism as ‘a mythology which could not but corrupt and debase’.116
He blamed Rome’s lack of true religion for its ‘luxury, cruelty and sensuality’.117 These attacks on the classicalinheritance were part of the
wider debate sparked by Matthew Arnold and the chapter on ‘Hebraism
and Hellenism’ in his Culture