Interiorizzare la rovina. Il riallestimento del Museo delle Navi romane di Nemi alla luce di nuove fonti d’archivio (1948-1953).

This essay examines the reconstruction of the Museo delle Navi romane at Nemi between 1953 and 1962, based on a critical review of both published and unpublished documents. Through letters, project notes, and technical materials related to the museum’s reconstruction, the analysis highlights the symbolic, operational, and political tensions that shaped the postwar recovery efforts following the 1944 fire. One section focuses on the sequence shot inside the museum by Elio Petri in his film L’assassino (1961), interpreted as a visual reflection on memory, ruin, and representation. Finally, the case of Nemi is situated within the broader context of postwar museum reconstruction in Italy, of which it represents a distinctive exception.