Rarely Seen Photos of a 20-Year-Old Gina Lollobrigida in Stresa for the 1947 Miss Italia Contest

In September 1947, a 20-year-old Gina Lollobrigida competed in the historic Miss Italia beauty pageant held in the resort town of Stresa on Lake Maggiore. The iconic 1947 Miss Italia contest is highly celebrated in pop culture history because it served as a major launchpad for several contestants who would later become legends of post-WWII Italian cinema.

Lollobrigida participated in the national beauty pageant, placed third, and it helped launch her modeling and acting career. The winner was Lucia Bosè, with Gianna Maria Canale as first runner-up. Other notable participants included Eleonora Rossi Drago.

This event came shortly after World War II. Lollobrigida had moved to Rome with her family, taken singing lessons, done some modeling, and entered several beauty contests. She was already turning heads for her striking looks and charisma.

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Penry Williams: Elegance and Romance in Italian Life

Penry Williams (1802–1885) was a Welsh painter best known for his elegant depictions of Italian life and landscapes. Born in Merthyr Tydfil, Wales, he trained at the Royal Academy in London before settling permanently in Rome in 1827, where he lived for nearly six decades.

Williams specialized in genre scenes, portraits, and Italian views, often portraying local peasants, Roman festivals, and the picturesque countryside with a refined, romantic sensibility. His works combined neoclassical clarity with the warmth and charm of everyday Italian life, earning him considerable success among British visitors on the Grand Tour.

Williams is remembered as one of the most accomplished Welsh artists of the 19th century and a significant figure in the British artistic community in Rome. These beautiful paintings capture Penry Williams’ refined sensibility, romantic charm, and deep affection for Italian life, cementing his legacy as one of the most graceful Welsh artists of the 19th century.

A Roman and His Ox Cart by Ancient Ruins

A Distant View of Saint Peter's, Rome

A Goatherd on the Roman Campagna

A Mother and Child beneath an Arbour at Evening

A View of Rome from the Tiber, with the Ponte Rotto and the Temple of Vesta

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“Born Bound” – Italian Tradition of Swaddling Newborns Abandoned

In Italian cultural history, “Born Bound” (known locally as Nati Fasciati) refers to the ancient, pervasive custom of tightly swaddling newborn infants. The centuries-old practice immobilized infants like “tiny mummies” immediately following birth. It remained a standard child-rearing practice across Italy, particularly within the isolated valleys of northern regions like Trentino-Alto Adige and Friuli Venezia Giulia, until it finally faded during the 1950s and 1960s.

Midwives or grandmothers would stretch the baby’s legs straight with precision, pin the arms to the sides, and wrap the entire body (from feet to shoulders) tightly with bandages or fabric, creating an almost rigid, mummy-like bundle. Babies could remain like this for hours, days, or even weeks.

It was believed to prevent deformities (e.g., bowed legs), promote straight growth, improve sleep, and keep the infant safe and immobile. This was practical in rural areas where mothers had other children and farm work. The tradition was ancient and unquestioned.

It faded in the mid-20th century due to modern pediatric insights on infant development and motor skills. A notable figure was Dr. Fabiani, a young doctor in a Friuli village, who worked respectfully with local mothers and midwife Norma Marcuzzi to introduce evidence-based practices without confrontation. This gradual, empathetic approach helped shift traditions.

This was a localized custom, not nationwide, and reflects broader historical European swaddling practices that emphasized shaping and restraining infants for perceived health and safety reasons.

Venice in 1954: Timeless Elegance in Vintage Photos

In the mid-1950s, Venice remained one of the most enchanting and atmospheric cities in the world. Still largely untouched by modern development, the city moved at a slower, more graceful pace, with gondolas gliding silently through misty canals and the gentle sound of water lapping against ancient stone walls.

This was a golden period when Venice attracted a sophisticated crowd of artists, writers, filmmakers, and wealthy travelers. The elegance of the past lingered strongly: from the grand hotels along the Grand Canal to the fashionable crowds in Piazza San Marco. It was an era of refined beauty, where the fading grandeur of the city’s palaces mixed with a romantic, almost melancholic charm that photographers and cineastes found irresistible.

Enjoy this nostalgic collection of photos that beautifully preserve the soul and timeless allure of Venice as it was in 1954.

A view of Ponte dell'Accademia and Chiesa di San Vidal, Venice, 1954

Boats on the canal, Venice, 1954

Campo Santi Giovanni e Paolo, Venice, 1954

Floridabar and Terrazza Sommariva, Venice, 1954

Grand Canal, Venice, 1954

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Did You Know That the Famous “Stone Bodies” of Pompeii Aren’t Actually Human Remains?

Did you know that the famous “bodies” of Pompeii aren’t actually human remains? Many people assume that the victims of Mount Vesuvius’s eruption in 79 AD were somehow turned to stone or miraculously preserved. But the truth is even more fascinating, and far more haunting.

The famous “stone bodies” of Pompeii are not actually petrified human remains. Instead, they are plaster casts created by archaeologists to capture the exact shape and final poses of the victims.

When Mount Vesuvius erupted in 79 AD, victims were buried under several meters of superheated volcanic ash and pumice. This material hardened around the bodies like natural cement. Over the next 1,700 years, the soft tissues (flesh, organs, and skin) decomposed, but the hardened ash held its shape. This created hollow, human-shaped voids or cavities in the ground.

In 1863, archaeologist Giuseppe Fiorelli pioneered a technique to fill these holes with liquid plaster. Once the plaster dried, excavators chipped away the surrounding ash to reveal lifelike statues of the victims in their final moments.

Contrary to the “stone” myth, the plaster is poured around the original skeletal remains that were resting at the bottom of the cavities. Modern CT scans have confirmed the presence of these bones, including skulls and limbs, inside the plaster shells. The process was so precise that it captured fine details like muscle tension, folds in clothing, and even facial expressions of pain or terror.

Recent DNA analysis of the bones inside the casts has challenged historical assumptions. For example, a “mother” found in a famous embrace was discovered to be a man, and some “families” were actually unrelated individuals.

Over 1,000 victims have been found, but only about 100 casts have actually been made. Many remains are kept as skeletons for scientific study or left in situ. In the neighboring town of Herculaneum, the heat was so intense that it vaporized soft tissue instantly, preventing the formation of cavities. Consequently, only bare skeletons are found there.

Today, many of the most famous casts are on display at the Pompeii Archaeological Park and the Antiquarium of Pompeii. Some iconic locations include:

• Garden of the Fugitives: Features 13 victims found huddled together against a wall.
• House of the Golden Bracelet: Known for the cast of a young boy sitting on his mother’s lap.

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In October 1958, the Funeral for Pope Pius XII Was Ruined by a Botched Embalming

Pope Pius XII’s funeral in October 1958 was a macabre event due to a botched experimental embalming that caused his body to rapidly decompose, swell, emit a foul odor, and eventually rupture during the procession.

The Pope’s personal physician, Riccardo Galeazzi-Lisi, an ophthalmologist with no forensic experience, decided to use an experimental preservation technique that involved soaking the body in aromatic oils and wrapping it in cellophane, rather than the standard practice of removing internal organs. Pius XII had requested that his organs not be removed, in a departure from the usual procedure at the time.

The combination of the warm October weather, the lack of refrigeration, and the flawed method accelerated anaerobic decomposition. Within hours, the body began to bloat and turn a greenish-black color, emitting such an intense stench that members of the Swiss Guard fainted and had to be rotated every 15 minutes during the public viewing.

The body continued to bloat, and reports indicate his nose and fingers detached. A wax mask was eventually used to cover his face. During the funeral procession from Castel Gandolfo to Rome, built-up internal gases and heat reportedly caused his chest cavity to “explode” or “rupture” with a loud sound in front of shocked mourners and pallbearers.

The incident made global headlines and led to swift consequences. Galeazzi-Lisi was banned from practicing medicine by the Italian Medical Council, dismissed by the newly elected Pope John XXIII, and banned from Vatican City for life. In the wake of this disaster, the Vatican implemented strict new protocols for papal funerals to ensure that standard, professional embalming practices were followed in the future.

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60 Amazing Vintage Photographs Capture Street Scenes of Bologna, Italy at the Turn of the 20th Century

Bologna is the capital and largest city of the Emilia-Romagna region in northern Italy. It is the seventh most populous city in Italy, with 390,734 inhabitants and 150 different nationalities. Its metropolitan province is home to more than 1 million people as of 2025. Bologna is most famous for being the home to the oldest university in continuous operation, the University of Bologna, established in AD 1088.

At the turn of the 20th century, Bologna retained much of its medieval charm, with its arcaded streets, red-brick buildings, and narrow alleyways. The city’s skyline was still dominated by its famous towers (though many had collapsed by then), and daily life often revolved around the piazzas, especially Piazza Maggiore and Via Rizzoli.

Horse-drawn carriages were still common in the early 1900s, but by the 1910s, Bologna had developed an efficient electric tram system — one of the first in Italy. The Bologna tram network, inaugurated in 1904, connected key areas like Porta San Felice, Porta Santo Stefano, and Piazza Maggiore, making the streets livelier with the sound of clanging bells and the hum of electric lines. Bicycles also became increasingly popular, reflecting the city’s flat landscape and student population.

Many streets preserved their Renaissance and medieval porticoes, providing shade and shelter — Bologna still holds over 38 kilometers of porticoes today. By the 1920s–1930s, under Fascist influence, parts of the city center saw urban renewal projects, widening streets and adding more modern facades — yet the heart of Bologna remained deeply historic.

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30 Amazing Color Slides Capture Street Scenes of Rome in the Early 1950s

The early 1950s saw Rome emerging from the post-war era and starting to flourish as part of the “Italian economic miracle”. This period was a time of significant reconstruction and modernization. The city began its transformation into a fashionable, cosmopolitan capital, laying the groundwork for the famous era of La Dolce Vita (“The Sweet Life”) that followed.

Iconic spots like the Cinecittà Studios became a hub for major international film productions, with classics like Roman Holiday being filmed in the city. The atmosphere blended historic charm—with its ancient domes and quiet morning cafés stirring with the scent of espresso and soft jazz—with a growing sense of modern energy and excitement.

These vintage slides, from Nicholas Massa, were taken by Earl Schmit on a trip through Europe, showcasing street scenes of Rome in November 1950.

Rome, Italy, November 1950

Rome. A tomb from the 1st century, Italy, November 1950

Rome. Arch of Constantine, Italy, November 1950

Rome. Castel Gandolfo, Italy, November 1950

Rome. Castel Gandolfo, Italy, November 1950

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In the Middle Ages, the Italian City of Bologna Had Over 100 Skyscraper-Like Towers

Between the 12th and the 13th century, Bologna was a city full of towers. Almost all were tall (the highest being 97 meters (318.2 ft)), defensive stone towers. Besides the towers, there are still some fortified gateways (torresotti) that correspond to the gates of the 12th-century city wall (Mura dei torresotti or Cerchia dei Mille), which itself has been almost completely destroyed.

The construction of the towers was quite tedious, the usage of serfs notwithstanding. To build a typical tower with a height of 60 m would have required between three and ten years of work.

Each tower had a square cross-section with foundations between five and ten meters deep, reinforced by poles hammered into the ground and covered with pebble and lime. The tower’s base was made of big blocks of selenite stone. The remaining walls became successively thinner and lighter the higher the structure was raised, and were realized in so-called “a sacco” masonry: with a thick inner wall and a thinner outer wall, with the gap being filled with stones and mortar.

Usually, some holes were left in the outer wall as well as bigger hollows in the selenite to support scaffoldings and to allow for later coverings and constructions, generally on the basis of wood.

The towers must actually have crowded Bologna in the Middle Ages and there has been considerable debate about their peak number before the first ones were demolished to avoid collapse or for other reasons.

The first historian to study the towers of Bologna in a systematic way was Count Giovanni Gozzadini, a senator of the Italian kingdom in the 19th century, who studied the city’s history intensively, not least to raise the prestige of his home town in the context of the now united Italy. He based his analysis mostly on the civic archives of real estate deeds, attempting to arrive at a reliable number of towers on the basis of documented ownership changes. His approach resulted in the extraordinary number of 180 towers, an enormous amount considering the size and resources of medieval Bologna.

More recent studies pointed out that Gozzadini’s methodology might have led to multiple counts of buildings, which could have been referred to in legal documents by different names, depending on the name of the family who actually owned it at a given moment. More recent estimates therefore reduced the number to a total between 80 and 100, where not all towers existed at the same time.

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35 Amazing Photographs Capture the Exterior of the Coliseum in Rome, Italy From the 19th Century

The 19th century was a pivotal period in the history of the Colosseum, marking a significant shift from its centuries-long use as a quarry and a source of building materials to a revered historical monument and a subject of systematic preservation.

After centuries of decay, earthquakes, and plundering, the Colosseum was in a state of serious disrepair. The 19th century saw a concerted effort to stabilize and restore the structure. Following a major earthquake in 1806, which caused significant damage, architects like Raffaele Stern, Giuseppe Valadier, and Luigi Canina began extensive work to secure the crumbling walls. They added large brick abutments to support the outer ring, particularly on the more damaged southern side. These interventions were crucial in preventing the monument’s further collapse and are still visible today.

The 19th century was also a time of heightened archaeological interest. Systematic excavations were conducted to uncover the Colosseum's long-buried subterranean features, known as the hypogeum. This underground network of tunnels, cages, and elevators, which was used to house animals and gladiators and to stage spectacles, had been filled with dirt and debris over centuries. The excavations, led by figures like Carlo Fea and Pietro Rossi, removed later medieval additions and revealed the true complexity of the ancient structure.

For centuries, the Colosseum had been used for various purposes, including as a fortress, a cemetery, a source of building materials for churches and palaces, and even a place with small shops and homes. However, in the 18th century, a papal decree had consecrated the arena as a holy site to honor Christian martyrs, which helped protect it from further quarrying. By the 19th century, this protection, combined with the new preservation efforts, solidified its status as a historical and cultural monument.

The 19th century was the era of the “Grand Tour,” and the Colosseum became an essential stop for travelers and intellectuals visiting Rome. It was seen as a symbol of the city’s ancient glory and a testament to the might of the Roman Empire. Writers and artists, including Charles Dickens, visited the monument, often romanticizing its moonlit ruins. This new role as a tourist attraction brought renewed attention and appreciation to the Colosseum's historical significance.

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Mountain Guides Carry a Wealthy Lady up Mount Vesuvius in Italy, ca. 1910

This striking vintage photo shows a wealthy woman being carried up Mount Vesuvius in Italy by mountain guides, ca. 1910.

At that time, Mount Vesuvius was already a famous tourist attraction. Wealthy European and American travelers often included Naples and Pompeii in their “Grand Tour” itineraries. However, the volcano’s rugged slopes and loose volcanic rock made the climb difficult, especially for ladies in the restrictive clothing of the era (corsets, long dresses, and impractical shoes).

Because of this, a special service was offered: local guides would carry tourists—usually women of high society—up to the crater. This was done using sedan chairs, mules, or, as shown in this photo, simply by carrying them on the guides’ shoulders.

Venice in 1891 Through Fascinating Photos

In the 1890s, Venice was a city suspended between past and present. Though politically part of unified Italy, it remained steeped in history—its canals, palaces, and churches largely unchanged. Artists and travelers flocked to capture its romantic decay, while local life continued around gondolas, boatyards, and quiet squares.

These fascinating photos of Italian photographer Ferdinando Ongania (1842–1911) were published in the 1890s in the two volume Calli e Canali in Venezia (Streets and Canals in Venice) that contained one hundred photogravures of the canals, streets and inhabitants of Venice.

Gondola, Venice, 1891

Equestrian Statue of Bartolomeo Colleoni, Venice, 1891

Arsenale, Venice, 1891

Basilica di Santa Maria della Salute, Venice, 1891

Bridge of Sighs, Venice, 1891

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