The frames of the Parma barricades of 1922 go beyond their own history to become icons of resistance and revolt. They do not merely bear witness to the events of the August that preceded the march on Rome: they take on an autonomous character and rise to the condition of symbol on a wider stage.

Amoretti was twenty-five, working as an apprentice at the Vaghi studio, and he sensed the need to represent those days, to fix those anonymous sculptures that would disappear soon afterwards. Twenty-four pictures that give back a city.