More importantly though, Rome had become a fertile battleground for the various movements in architecture.4i Urbanism, as mentioned above, was moving populations in the name of residential decentralization. But such “macro-moves” were then balanced out with more specific governmentally selected architectural interventions, such as the Danteum indeed.
The project of the Danteum is also, notoriously, a contemporary of one of the most “extravagant ideological gestures”5of Italian fascism, the E42. It differs quite radically from the E42’s set of projects however. The architecture of the E42 - orchestrated and led by Marcello Piacentini - sought to restore Italy’s Roman heritage in order to incorporate it in the new fascist identity, whereas the Danteum was an isolated intellectual and Rationalist experiment. The project, because of its medieval conceptual origins (ie. Dante’s Divina Commedia), was a de facto outsider or exception in the fascist rhetoric of the “Third Rome” (Constantinople - the capital of the Byzantine Empire - usually being referred to as the “Second Rome”).