harnessing them for its own malevolent propaganda and
commercial purposes. If the second great war of the
twentieth century and the hydrogen bomb which ended
it are considered metaphors for a lethal foray towards the
sun, then this leg of the flight through history proved a
caWlamitous and tragic ascent.
Fontana Arte calls us to appreciate the firm's oeuvre beyond
the confines of nationalism, of political manipulation, so
often imposed upon the arts. As much as the artistic
directors of Fontana Arte might, possibly, have desired
to insulate themselves, as so many artists attempt to do,
from the vagaries of politics, their achievements were
championed by the Fascist state in a series of dramatic
exhibitions in Italy and abroad, including countries that
would fall under this
dubious
apparatus.
D'Annunzio, who many
consider a spiritual anima
of Fascism, exalted
Fontana Arte's brilliant
designs: a reproduction
of his communication
with Chiesa regarding
stained glass windows
he commissioned from
the artist is given an
entire page. Although,
HYLAND
