Monuments Farnese by Francesco Mochi

They are there to look for centuries, Ranuccio and Alessandro. Watch the beautiful square with their imposing size. And tell us about a Piacenza old and new, still attached to its traditions and its soul. The book contains texts and images that can let us know, through a cut informative, our two major monuments: the nos cavaj called them the poet Ferdinand Cogni, horses farnesiani Francesco Mochi, "two masterpieces of Italian art of all times, but so included in the horizon of our habits that we think we have lived there forever, as if the square was born with them "(Francis Scaravaggi, p. 7).
The first part reproduces the entire book Gaetano Pantaleoni, The Baroque of Mochi in horses Farnese, published in 1975 and reprinted in 1981, is still useful as a historical atlas and visual map of the two monumental groups, while the second part contains essays that look function scenic statues and cultural role of these sustained over time.
Finally, the third area of the conservation and recovers interventions drafted during restoration work carried out in the eighties.
To seal the volume there is the famous poem that Ferdinand Cogni devoted to horses after the war. But with that eye look at them today our horses?
The editor of the book observes, "even today, when you are near Alessandro Farnese, one is led to turn our eyes to his horse stumbled, it was never a novelty, in the long head like a caricature, with a tuft of mane goes on the eye, which ends up in the forge of a snorting beast angry, annoyed, which discards the side to avoid you ....
To look good, the great quality of the bronze horses of Mochi is suit that momentum retained by force if .. then cross the square and pass under Ranuccio, according to our dukes but first to be portrayed by the artist, here the same emotion but with more humor.
Ranuccio is in saddle with pride, yes, but no instinct; kingship hides the natural indolence that the chroniclers attributed: no he was a soldier but a politician.
But his horse, though less impetuous of the other is still a son of that same thrill, and as that is distorted by some kind of fear as old as the world. "