LE STORIE D’ITALIA NELL’ETÀ DELLA RESTAURAZIONE IL CASO DI CARLO BOTTA La tesi ha, come primo obiettivo, attraverso la discussione e l’analisi di alcune categorie e paradigmi storiografici ottocenteschi, alla luce di diverse esperienze metodologiche, quello di indagare in che modo il XIX secolo abbia forgiato e utilizzato concetti come quello di Restaurazione, nonché la medesima categoria di Stato Moderno, senza dimenticare cosa significhi propriamente Risorgimento. Studiare, dunque, aspetti ed eventi della storia risorgimentale italiana, che desiderano mettere in luce alcune importanti riflessioni intorno alla Storia di un periodo, che vanno ben oltre una semplice consequenzialità cronologica, avendo come esito scontato l’evento unitario nazionale. Questo punto di partenza ha generato una serie d’interrogativi, da cui questa tesi prende le mosse. La domanda sostanziale riguarda in che momento in Italia si sia incominciato a parlare di «nazione», ma soprattutto concetti come «patria», e quali siano state le modalità per definire lo «spirito patriottico», e da dove esso sia nato. Le fonti più importanti sono rappresentate, principalmente, da «Storie d’Italia», utilizzate come fonti, venute alla luce nella prima metà dell’Ottocento con alterne fortune. In particolare, grande attenzione è dedicata alla figura di Carlo Botta, il quale, in tutto lo svolgimento di questa ricerca, si costituisce a paradigma, proprio per il suo vissuto personale, fatto di innumerevoli esperienze politiche e culturali, di un’aspirazione risorgimentale in una tensione narrativa che è emersa dalla lettura e approfondimento delle sue Storie d’Italia. Esse si costituiscono, infatti, come fonte imprescindibile nel comprovare le ragioni di questa ricerca, e insieme, attraverso la spiegazione della sua Vita, nel porre in luce contrasti e punti di contatto di un’epoca che pone le sue radici identitarie, ben prima di quanto la storia moderna abbia voluto consegnarci. / THE STORIES OF ITALY AGE OF RESTORATION THE CASE OF CARLO BOTTA This thesis has as its primary objective, through the discussion and the analysis of certain categories and paradigms of nineteenth-century historiography, in the light of several methodological experiences, the one to explore how the nineteenth century has forged and used concepts such as Restoration, as the same category Modern State, without forgetting what Risorgimento exactly means. Studying therefore issues and events of the Italian Risorgimento history, which would like to highlight some important thoughts around the history of a period, going far beyond a simple chronological consequentiality, having as the foregone conclusion the united national event. This starting point has generated a series of questions build on by this thesis. The basic question concerns in which time Italy has begun to talk about "nation", but above all concepts such as “homeland”, and how to define the “patriotic spirit”, and whence it was born. The most important sources are represented, mainly, by the “Stories of Italy”, used as sources, which came to light in the first half of the nineteenth century with alternating success. In particular, great attention is devoted to the figure of Carlo Botta, who, throughout the course of this research, constitutes himself as a paradigm for his own personal experience indeed, made up of innumerable political and cultural experiences, as well as a Risorgimento’s ambition in a narrative tension, that has emerged from the reading and close examination of his Histories of Italy. Actually, they are an absolute source in proving the reasons for this research and together, through the explanation of his Life, draw the attention to the contrasts and points of contact of an era that has its identity-making roots far earlier than modern history has given us.

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This thesis provides an overview of the engagement with the material culture of Assyria, unearthed in the Middle East from 1845 onwards by British and French archaeologists. It sets the artistic discovery of Assyria within the visual culture of the period through reference not only to painting but also to illustrated newspapers, books, journals, performances and popular entertainments. The thesis presents a more vigorous, interlinked, and widespread engagement than previous studies have indicated, primarily by providing a comprehensive corpus of artistic responses. The artistic connections between Britain and France were close. Works influenced by Assyria were published, exhibited and reviewed in the contemporary press, on both sides of the English Channel. Some artists, such as Gustave Doré, successfully maintained careers in both London and Paris. It is therefore often meaningless to speak of a wholly ‘French’ or ‘British’ reception, since these responses were coloured by artistic crosscurrents that operated in both directions, a crucial theme to be explored in this dissertation. In Britain, print culture also transported to the regions, away from large metropolitan centres, knowledge of Assyria and Assyrian-inspired art through its appeal to the market for biblical images. Assyria benefited from the explosion in graphical communication. This thesis examines the artistic response to Assyria within a chronological framework. It begins with an overview of the initial period in the 1850s that traces the first British discoveries. Chapter Two explores the different artistic turn Assyria took in the 1860s. Chapter Three deals with the French reception in the second half of the nineteenth century. Chapter Four concludes the British reception up to 1900, and Chapter Five deals with the twentieth century. The thesis contends that far from being a niche subject engaged with a particular group of artists, Assyrian art was a major rediscovery that affected all fields of visual culture in the nineteenth century.