Umberto Sciamanna — photographe romain documenté - Rome...

Photograph of the pilgrimage to Rome — May 1922 Umberto Sciamanna — Roman photographer documented Documentary starting point The Italian institutional documentation devoted to the history of Eucharistic Congresses indicates that after the interruption caused by World War I, Benedict XV wished to relaunch the movement; “solo a Roma, nel 1922, all’inizio del pontificato di Pio XI, la tradizione del Congresso poté riprendere.” This indication places Rome in 1922 as the site where the tradition of international Eucharistic Congresses could resume, at the beginning of the pontificate of Pius XI. The photograph Large vintage photograph representing a group of pilgrims in front of St. Peter’s in Rome. The photograph measures about 38.5 × 25.5 cm and gathers about 160 people. The handwritten annotations on the print constitute essential documentary elements for studying the group. Historical context The annotation “Devant St Pierre de Rome” and the mention “Pèlerinage de Mai 1922” place the print directly in Rome in May 1922. It fits within the context of the 26th International Eucharistic Congress of Rome, May 24–29, 1922. Contemporary French sources note the presence of about 2,000 French pilgrims among the many pilgrims gathered in Rome. The visible group in this photograph thus constitutes a particular group within a much larger assembly. Umberto Sciamanna The print bears the professional stamp: “SCIAMANNA UMBERTO – FOTOGRAFO – V. VESPASIANO 18 – ROMA.” This marking is an important physical element linking the print to the Roman studio of Umberto Sciamanna (1891–1963) — a testimony of Roman photography whose work is now documented in Italian patrimonial collections. The Archivio Fotografico of the Museo di Roma preserves a collection of more than 1,700 photographic plates associated with Sciamanna. This includes views of St. Peter’s Basilica and documents related to the Roman urban landscape in the 20th century. A photograph of St. Peter’s Basilica taken by Sciamanna around 1950 also appears in the museum’s documentation. The value of the present print lies in the encounter between this Roman photographic reference, the monumental Vatican setting, and a precisely dated historical event: the May 1922 pilgrimage. The handwritten annotations kept on the print add a human and familial dimension by naming several participants. The stamp constitutes an important documentary clue, without allowing by itself to affirm that Umberto Sciamanna personally took the photograph. The possible identification of other participants and the search for any possible link with photographic or religious archives could further enrich the history of this document. A period group photograph that thus combines memory of the pilgrimage, nominative annotations, and a reference to a well-documented Roman studio. Umberto Sciamanna — continuation of the file The Florence photographic archives document the collection “Foto Sciamanna, Roma ([1920] - )”, a studio founded in the 1920s by Umberto Sciamanna (Rome, 1891–1963). The Museo di Roma also preserves a Sciamanna collection of more than 1,700 photographic plates and has presented his work in the exhibition “San Pietro. Fotografie dal 1850 ad oggi” (2007–2008). These elements establish the existence of a photographer and a Roman studio documented in patrimonial institutions. People currently identified by annotations • Blanche MOLARD — annotation: “Blanche MOLARD épouse FRANÇOIS Georges.” • Georges FRANÇOIS. • Denise FRANÇOIS — the annotation related to Mme de Combarieu designates her as the “godmother of Denise FRANÇOIS.” • Mme de Combarieu — annotation: “Mme de Combarieu, marraine de Denise FRANÇOIS.” • R.P. Zacharie — annotation: “R.P. Zacharie qui a marié MOLARD Blanche.” R.P. Zacharie — archival lead The religious figure designated by the annotation “R.P. Zacharie” is depicted as a Capuchin minor brother. A documentary lead points to Father Zacharie de Villelongue (Marcel Jacques Montagné), a Capuchin born in 1863 and who died in 1933, whose religious activity and links with pilgrimages to Rome are documented. His precise presence in Rome in May 1922 in this photograph remains to be confirmed by a direct source. State of the study The identifications above rely on the handwritten annotations visible on the print and on the documentary cross-references currently established. They do not constitute an independent facial identification of each face. Additional identification to pursue: the identified presence of R.P. Zacharie provides a footing for cross-referencing sources and recognizing possible other participants on the photograph. Conclusion This May 1922 pilgrimage photograph has particular documentary interest due to the conjunction of its handwritten dating, its Roman setting, its material link to Sciamanna’s Roman studio, and several nominative identifications already on the print. Identification of other participants remains open to further archival research. Keeping nominative annotations and the professional stamp also endows the print with the character of a collection document with archival value, beyond a simple souvenir photograph. —Several people have already been identified thanks to the handwritten annotations, but further research in historical and religious archives could enable the identification of other participants represented in this photograph.

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