Riguzzi Monument, 1922
Carducci field, west side
The monument, made by Silverio Montaguti (1870-1947), consists of a solid body in pink granite on which rests a bronze group formed by three allegorical figures.
The composition is dominated by an imposing female statue representing Motherhood, not from a religious point of view but rather a secular one, symbolising fertility. With her right arm the woman raises a voluminous cloth that covers her head and falls onto her shoulders, while a soft robe covers the rest of the body, leaving uncovered only the breast. Her protective gaze is directed towards the child in her arms.
The two lateral figures mirror each other, modelled in classic shapes but with marked realistic accents: Mercury on the right and Labour on the left. They are respectively identifiable by the caduceus and winged cap and shoes on the former, and the chisel in hand joined to the anvil and the circular saw of the latter. Mercury, however, is not depicted here as a messenger of the gods or ferryman of souls, but rather protector of businesses.
The work includes the bow of a ship pictured at his feet, surrounded by laurel branches to symbolise enrichment in business through the nobility of work. The two figures shake hands as a sign of agreement.
Carducci field, west side
The monument, made by Silverio Montaguti (1870-1947), consists of a solid body in pink granite on which rests a bronze group formed by three allegorical figures.
The composition is dominated by an imposing female statue representing Motherhood, not from a religious point of view but rather a secular one, symbolising fertility. With her right arm the woman raises a voluminous cloth that covers her head and falls onto her shoulders, while a soft robe covers the rest of the body, leaving uncovered only the breast. Her protective gaze is directed towards the child in her arms.
The two lateral figures mirror each other, modelled in classic shapes but with marked realistic accents: Mercury on the right and Labour on the left. They are respectively identifiable by the caduceus and winged cap and shoes on the former, and the chisel in hand joined to the anvil and the circular saw of the latter. Mercury, however, is not depicted here as a messenger of the gods or ferryman of souls, but rather protector of businesses.
The work includes the bow of a ship pictured at his feet, surrounded by laurel branches to symbolise enrichment in business through the nobility of work. The two figures shake hands as a sign of agreement.
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