"Il Canto degli Italiani"[a] is a patriotic song written byGoffredo Mameli and set to music byMichele Novaro in 1847,[2] currently used as thenational anthem of Italy. It is known among Italians as the "Inno di Mameli"[b]—after the author of the lyrics—or as "Fratelli d'Italia"[c]—from the song'sopening line. The piece, in4 4 time signature andB-flat major key, has sixstrophes, and arefrain sung after each. The sixth group of verses, almost never performed, recalls the text of the first strophe.
AfterWorld War II, Italybecame a republic. On 12 October 1946, it chose "Il Canto degli Italiani" as a provisional national anthem. The song would retain this role asde facto anthem of the Italian Republic, and after many unsuccessful attempts, gainedde jure status on 4 December 2017.
Holographic draft of 1847 by Goffredo Mameli of the first strophe and the refrain of "Il Canto degli Italiani"
The text of "Il Canto degli Italiani" was written byGoffredo Mameli, a young Genoese patriot inspired by themass mobilizations that would lead to therevolutions of 1848 and theFirst Italian War of Independence.[3] Sources differ on the precise date of the text's drafting: according to some scholars, Mameli wrote the text on 10 September 1847,[4] while others date the composition's birth to two days prior—8 September.[5] After discarding all extant music,[6] on 10 November 1847[7] Mameli sent the text toTurin and the Genoese composerMichele Novaro, who lived at the time with the activistLorenzo Valerio.[4][6][8]
The poem captured Novaro[9] and he decided to set it to music on 24 November 1847.[4] Thirty years later, the patriot and poetAnton Giulio Barrili recalled Novaro's description of the event thus:[3]
Mi posi al cembalo, coi versi di Goffredo sul leggio, e strimpellavo, assassinavo colle dita convulse quel povero strumento, sempre cogli occhi all'inno, mettendo giù frasi melodiche, l'un sull'altra, ma lungi le mille miglia dall'idea che potessero adattarsi a quelle parole. Mi alzai scontento di me; mi trattenni ancora un po' in casa Valerio, ma sempre con quei versi davanti agli occhi della mente. Vidi che non-c'era rimedio, presi congedo e corsi a casa. Là, senza neppure levarmi il cappello, mi buttai al pianoforte.
Mi tornò alla memoria il motivo strimpellato in casa Valerio: lo scrissi su d'un foglio di carta, il primo che mi venne alle mani: nella mia agitazione rovesciai la lucerna sul cembalo e, per conseguenza, anche sul povero foglio; fu questo l'originale dell'inno Fratelli d'Italia.
I placed myself at theharpsichord, with Goffredo's verses on the lectern, and strummed away, murdering the poor instrument with my shaking hands. I kept my eyes on the hymn as I set down melodic phrases, one after the other, but felt a thousand miles distant from the idea I could adapt the words. I stood up disgruntled with myself; I stayed a little longer in the Valerio house, but always those verses hung in my mind's eye. I saw that there was no remedy, took leave, and ran home. There, without even taking off my hat, I threw myself at the piano.
The motif strummed in the Valerio house came back to me: I wrote it on a sheet of paper, the first that came to my hands: in my agitation I upset the lamp on the harpsichord and, consequently, also on the poor sheet; this was the origin of the Fratelli d'Italia
In the original version of the text, the first line of the first verse read "Hurray Italy", but Mameli changed it to "Fratelli d'Italia", likely at Novaro's suggestion.[14] Novaro, after receiving the manuscript, added a rebellious "Sì!" ('Yes!') at the end of the final refrain.[15][16]
Another verse in the first draft was dedicated to Italian women,[17] but was eliminated by Mameli before the official debut. It read:[17][18] "Tessete o fanciulle / bandiere e coccarde / fan l'alme gagliarde / l'invito d'amor".[d]
The first printed copy of the hymn, by the Delle Piane printers of Genoa, on looseleaf, was distributed on 10 December 1847 to demonstrators in Oregina. Mameli then added in pen the fifth strophe of the hymn, censored by the Savoy government as too anti-Austrian.TheSantuario della Nostra Signora di Loreto, before which the "Il Canto degli Italiani" made its public debut
On this occasion, the flag of Italy was shown and Filarmonica Sestrese, the municipal band ofSestri Ponente, played Mameli's anthem for 30,000 patriots who had come to Genoa from other parts of Italy for the event.[6] This event is believed to be the song's first public performance, but there may have been a previous public rendition in Genoa on 9 November 1847, of which the original documentation was lost.[19]
That performance would have been by the FilarmonicaVoltrese[19] founded by Goffredo's brotherNicola Mameli [it],[20] and used a first draft of "Il Canto degli Italiani" that differs from the final version.[19] As its author was infamouslyMazzinian, the piece was forbidden by thePiedmontese police until March 1848. Its execution was also forbidden by the Austrian police, which also pursued its singing interpretation — considered apolitical crime — untiltheir empire's dissolution.[21] On 18 December 1847, the Pisan newspaperL'Italia wrote how the song evoked public spirits:[22]
... For many evenings numerous youths have come together in theAccademia filodrammatici to sing a hymn of Mameli, set to music by the maestro Novaro. Poetry … is full of fire, music fully corresponds to it …
Novaro's autographed manuscript to the publisherFrancesco Lucca [it] is located in the Ricordi Historical Archive.[24] The later Istituto Mazziniano sheet lacks the final strophe ("Son giunchi che piegano…") for fear of censorship. These leaflets were to be distributed at the 10 December demonstration in Genoa.[25] The hymn was also printed on leaflets in Genoa, by the printerCasamara.
"Il Canto degli Italiani" debuted with a few months left to therevolutions of 1848. Shortly before the promulgation of theStatuto Albertino, the constitution thatCharles Albert of Sardinia conceded to theKingdom of Sardinia on 4 March 1848, political gatherings of more than ten people had become legal,[6] and songs like "Il Canto degli Italiani" could spread byword of mouth.[6] Patriots from the 10 December demonstration spread the hymn all over theItalian peninsula.[6] It became popular among theItalian people and the ranks of the Republican volunteers.[26] The hymn was commonly sung in most parts of Italy during demonstrations, protests and revolts as a symbol of the unification.[27]
The Savoyard authorities censored the fifth strophe[3] to preserve diplomatic relations with the Austrians; however, after the declaration of war against theAustrian Empire and the beginning of theFirst Italian War of Independence in 1848,[28] the soldiers and the Savoy military bands performed it so frequently that King Charles Albert was forced to withdraw all censorship.[29] The rebels sang "Il Canto degli Italiani" during theFive Days of Milan[30] and at Charles Albert of Piedmont-Sardinia's promulgation of theStatuto Albertino.[31] Volunteers for the short-livedRoman Republic sang it,[32][33] andGiuseppe Garibaldi hummed and whistled it during the defense ofRome and the flight toVenice.[4]
After theproclamation of the Kingdom of Italy in 1861, the "Royal March",[35] composed in 1831, was chosen as the national anthem of unified Italy. "Il Canto degli Italiani" had politically radical content, with its strong republican and Jacobin connotations,[10][11] and did not combine well with the monarchical conclusion to the unification of Italy.[28] Mameli's creed, was, however, more historical than political,[11] and socialist and anarchist circles also regarded "Il Canto degli Italiani" as too conservative.[36]
Front page of theCorriere della Sera of 21 May 1915: parliamentary deputies acclaimed the government's assumption of war powers with the Mameli-Novaro anthem.
After the end of the Italian unification, "Il Canto degli Italiani" was taught in schools, and remained popular among Italians.[39] However, other musical pieces connected to the political and social situation of the time, such as the "Inno dei lavoratori [it]" ('Hymn of the Workers') or "Goodbye to Lugano",[40] addressed daily problems. These partly obscured the popularity of reunification hymns.[41]
"Fratelli d'Italia", thanks to references to patriotism and armed struggle,[41] returned to success during theItalo-Turkish War, whereby it joined "A Tripoli";[42] and in the trenches of World War I.[41]Italian irredentism of that time found a symbol in "Il Canto degli Italiani"; although, in the years following, in the patriotic ambit, musical pieces of greater military style such as "La Leggenda del Piave", the "Canzone del Grappa [it]" or "La campana di San Giusto [it]"[36] would have been preferred over it. Shortly after Italy entered World War I, on 25 July 1915,Arturo Toscanini performed "Il Canto degli Italiani" at an interventionist demonstration.[43][44]
Fascist chants, such as "Giovinezza", became important symbols, after the 1922March on Rome.[45] Although not official, they were widely disseminated, publicized, and taught in schools.[46] Non-fascist melodies including "Il Canto degli Italiani" were discouraged.[41]
In the spirit of this directive, some songs were resized, such as "La Leggenda del Piave", which was sung almost exclusively during theNational Unity and Armed Forces Day every 4 November.[49] The chants used during the Italian unification were tolerated, however:[36][48] "Il Canto degli Italiani", which was forbidden in official ceremonies, received a certain condescension on particular occasions.[48]
Afterthe armistice of 8 September 1943, the Italian government provisionally adopted as a national anthem "La Leggenda del Piave", replacing the "Marcia Reale".[36][52][53] Cooperation with the fascist dictatorship was now egg on the monarchy's face;[36] a song that recalled theItalian victory in World War I could infuse courage and hope to theRoyal Italian Army troops who now fought against Mussolini's Social Republic andNazi Germany.[54]
"Fratelli d'Italia" resounded inSouthern Italy (freed by theAllies) and in partisan-controlled areas to the north.[55] "Il Canto degli Italiani", in particular, had success in anti-fascist circles,[49] where it joined partisan songs "Fischia il vento" and "Bella ciao".[36][55] Some scholars believe that the success of the piece in anti-fascist circles then was decisive for its choice as provisional anthem of the Italian Republic.[43]
Often, "Il Canto degli Italiani" is wrongly referred to as the national anthem of theItalian Social Republic. However, Mussolini's Republic had no official anthem, playing "Il Canto degli Italiani" and "Giovinezza"[56] equally often at the ceremonies. "Il Canto degli Italiani" retained value to the fascists only for propaganda.[57]
Thus, Mameli's hymn was sung by both partisans and fascists.[56]
For the new anthem, a debate arose. Possible options included "Va, pensiero" from Verdi'sNabucco; a completely new piece; "Il Canto degli Italiani"; the "Inno di Garibaldi"; and confirmation of "La Leggenda del Piave".[59][60] The government then approvedRepublican War MinisterCipriano Facchinetti's proposal to adopt "Il Canto degli Italiani" as provisional anthem.[60]
"La Leggenda del Piave" thus served as national anthem until theCouncil of Ministers meeting on 12 October 1946, when Facchinetti officially announced the provisional anthem for the 4 NovemberNational Unity and Armed Forces Day celebrations.[61][62] The press release stated:[63]
… On the proposal of the Minister of War it was established that the oath of the Armed Forces to the Republic and to its Chief would be carried out on November 4th p.v. and that, temporarily, the anthem of Mameli is adopted as the national anthem …
— Cipriano Facchinetti
Facchinetti also declared that a draft decree would be proposed to confirm "Il Canto degli Italiani" as the provisional national anthem of the newly formed Republic, but did not follow up on this promise.[62][64] Instead, he proposed to formalize "Il Canto degli Italiani" in theConstitution of Italy, then being drafted.[60]
The Constitution, finished in 1948, determined the national flag, but did not establish a national anthem or emblem;the latter was adopted by legislative decree on 5 May.[65] A draft constitutional law prepared immediately afterwards sought to insert, after discussion of the national flag, the sentence "The Anthem of the Republic is the 'Il Canto degli Italiani'". This law stalled as well.[66]
"Il Canto degli Italiani" nonetheless garnered success among theItalian diaspora:[67] "Fratelli d'Italia" scores are sold inLittle Italies across theAnglosphere, and "Il Canto degli Italiani" is often played on more or less official occasions inNorth andSouth America.[67] In particular, it was the "soundtrack" of post-WWII fundraisers in the Americas for the Italian population left devastated by the conflict.[68]
Between 1999 and 2006, President of the RepublicCarlo Azeglio Ciampi, began to revive "Il Canto degli Italiani" as a national symbol of Italy.[69][70] Ciampi declared that:[70]
… It is a hymn that, when you listen to it, makes you vibrate inside; it is a song of freedom of a people that, united, rises again after centuries of divisions, of humiliations …
— Carlo Azeglio Ciampi
In August 2016, a bill was submitted to the Constitutional Affairs Committee of theChamber of Deputies to make "Il Canto degli Italiani" Italy's national anthem,[71] and passed out of committee in July 2017.[72] On 15 December 2017, onGazzetta Ufficiale law nº 181 of 4 December 2017, was published after passing both houses of Parliament, and the law came into force on 30 December 2017.[73]
In 2025, PresidentSergio Mattarella signed a decree clarifying that the final "Sì!" ('Yes!') at the end of the chorus is no longer to be sung during the Italian national anthem, as it did not appear in the original official text written by Mameli and instead was added by Novaro.[74]
Version sung in 1943 and subsequently adopted by the Italian Social RepublicVersion sung byMario Del Monaco in 1961Full sung versionU.S. Navy Band instrumental version (one verse and chorus)
This is the complete Italian anthem text.
The first strophe presents a personification of Italy who is ready to war to become free, and shall be victorious asRome was in ancient times, "wearing" the helmet ofScipio Africanus who defeatedHannibal at thefinal battle of theSecond Punic War. It also alludes to the ancientRoman custom that slaves cut their hair short as a sign of servitude: hence theGoddess of Victory must cut her hair and enslave herself toRome (to make Italy victorious).[75]
In the second strophe the author complains that Italy has been a divided nation for a long time, and calls for unity. In this stropheMameli uses three poetic and archaic words:calpesti (modern Italian:calpestati),speme (modernsperanza),raccolgaci (modernci raccolga).
The third strophe is an invocation to God to protect the loving union of the Italians struggling to unify their nation once and for all. The fourth strophe recalls popular heroic figures and moments of the Italian fight for independence: thebattle of Legnano, the defence ofFlorence led byFerruccio during theItalian Wars, the riot started inGenoa byBalilla, and theSicilian Vespers. The fifth strophe unequivocally marks Habsburg Austria as the Italian cause's primary enemy. It also links thePolish quest for independence to the Italian one.[3]
The sixth and final verse, almost never performed,[76] is missing in Mameli's original draft but appears in his second manuscript. However, it was omitted in the first printed editions of the text on the leaflet.[77] The verse joyfully announces the unity of Italy and goes on to close the song with the same six lines that conclude the initial verse, thus giving the poem a circular structure.
Fratelli d'Italia, l'Italia s'è desta, dell'elmo di Scipio s'è cinta la testa. Dov'è la Vittoria? Le porga la chioma, ché schiava di Roma Iddio la creò.
(ripetere la prima strofa)
Coro: 𝄆 Stringiamci a coorte, siam pronti alla morte. Siam pronti alla morte, l'Italia chiamò. 𝄇
Noi fummo da secoli[N 2] calpesti, derisi, perché non siam popolo, perché siam divisi. Raccolgaci un'unica bandiera, una speme: di fonderci insieme già l'ora suonò.
(ripetere la prima strofa)
Coro
Uniamoci, amiamoci,[N 3] l'unione e l'amore rivelano ai popoli le vie del Signore. Giuriamo far libero il suolo natio: uniti, per Dio, chi vincer ci può?
(ripetere la prima strofa)
Coro
Dall'Alpi a Sicilia dovunque è Legnano, ogn'uom di Ferruccio ha il core, ha la mano,[N 4] i bimbi d'Italia si chiaman Balilla, il suon d'ogni squilla i Vespri suonò.
(ripetere la prima strofa)
Coro
Son giunchi che piegano le spade vendute: già l'Aquila d'Austria le penne ha perdute. Il sangue d'Italia, il sangue Polacco, bevé, col cosacco, ma il cor le bruciò.[N 5]
(ripetere la prima strofa)
Coro
Evviva l'Italia, dal sonno s'è desta, dell'elmo di Scipio s'è cinta la testa. Dov'è la vittoria?! Le porga la chioma, ché schiava di Roma Iddio la creò.
(ripetere la prima strofa)
Coro
[fraˈtɛl.li diˈtaː.lja |] [liˈtaː.lja ˌsɛ‿dˈde.sta |] [delˈlel.mo di‿ʃˈʃiː.pjo] [ˌsɛ‿tˈt͡ʃin.ta la ˈtɛ.sta ǁ] [doˈvɛ‿l.la vitˈtɔː.rja |] [le ˈpɔr.ɡa la ˈkjɔː.ma |] [ke ˈskjaː.va di ˈroː.ma] [idˈdiː.o la kreˈɔ ǁ]
Chorus: 𝄆 Let us join in acohort,[N 14] we are ready for death. We are ready for death, Italy has called! 𝄇[N 15]
We were for centuries downtrodden, derided, because we are not one people, because we are divided.[N 16] Let oneflag, one hope gather us all.[N 17] The hour has struck for us to unite.
(repeat first stanza)
Chorus
Let us unite, let us love one another, Union and love Reveal to the peoples The ways of the Lord. Let us swear to set free The land of our birth: United, by God, Who can overcome us?[N 18]
The mercenary swords Are feeble reeds.[N 23] Already the Eagle ofAustria Hath lost its plumes.[N 24] The blood of Italy, The blood ofPoland It with Cossacks did drink,[N 25] But will burn its heart.[N 26]
(repeat first stanza)
Chorus
Long live Italy, She has awoken from slumber, bound Scipio's helmet[N 8] Upon her head.[N 9] Where is Victory?[N 10] Let her bow down,[N 11] Because as a slave of Rome[N 12] God did create her.[N 13]
Novaro's musical composition is written in a typicalmarching time (4 4)[85] and the key ofB-flat major.[86] It has a catchy character and an easymelodic line that simplifies memory and execution.[85] On theharmonic andrhythmic level, the composition presents greater complexity.
From a musical point of view, the piece is divided into three parts: the introduction, thestrophes and therefrain.
The twelve-bar introduction is aninstrumental atallegro martial pace,[87] with adactyl rhythm that alternates one-eighth-note two-sixteenth-notes. The introduction divides into three four-bar segments, each alternating between atonic chord and itsdominant. The first four bars are in B♭ major; the second inG minor; and the last four bars return to B♭ to introduce the verses.
The strophes, therefore, attack inB♭. They repeat the same melodic unit, in variousdegrees and at differentpitches. Each melodic unit corresponds to a fragment of the Mamelianhexasyllable, in accordance with the classical bipartite scheme ("Fratelli / d'Italia / ' Italia / s'è desta").[88] However, the usual leap of a diatonicinterval does not match theanacrusic rhythm: on the contrary, the verses «Fratelli / d'Italia» and «dell'elmo / di Scipio» eachbegin with identical notes (respectivelyF orD). This weakens the syllable accentuation, and produces an audiblysyncopated effect, contrasting the natural short-long succession of theparoxytone verse.[88]
As written, the basic melodic unit combines adotted eighth note and asixteenth note:
At bar 31, the song undergoes an unusual shift for the refrain[9] recognizable in the most accredited recordings of theautograph score.[89] It accelerates to anallegro mosso,[85] and permanently modulates to E♭ major,[90] yielding only to therelative minor (C minor) during the tercet "Stringiamci a coorte / siam pronti alla morte / L'Italia chiamò".[9] Also, the refrain is characterized by a repeated melodic unit; in the last five bars, itgrows in intensity, passing frompianissimo toforte tofortissimo with the indicationcrescendo e accelerando sino alla fine ("growing and accelerating to the end").[91]
The two authors have been dead for more than 70 years, and thecopyrights have lapsed; the work ispublic domain. Novaro disclaimed compensation for printing music, ascribing his work to the patriotic cause. Giuseppe Magrini, who made the first print of "Il Canto degli Italiani", asked only for a certain number of printed copies for personal use. At Tito Ricordi's 1859 request to reprint the text of the song with his publishing house, Novaro ordered that the money be directly paid in favour of a subscription forGiuseppe Garibaldi.[92]
Nevertheless, the publisherSonzogno has attempted to collect royalties for use of the "Il Canto degli Italiani"score.[93] It also has the possibility of making the official prints of the piece.[23]
Over the years a public ritual has been established for the anthem's performance, still in force.[98] According to the custom, whenever the anthem is played, if in an outdoor military ceremony personnel in formation present arms while personnel not in formation stand at attention (unless when saluting during the raising and lowering of the national flag, as well as the trooping of the national flag for service or unit decorations). If indoors (including military band concerts), all personnel stand at attention.[98] Civilians, if they wish, can also put themselves to attention.[99] On the occasion of official events, only the first two stanzas should be performed without the introduction.[63][98] If the event is institutional, and a foreign hymn must also be performed, this is played first as an act of courtesy.[98]
In 1970, the obligation, however, to perform the "Ode to Joy" ofLudwig van Beethoven, that is the officialanthem of Europe, whenever "Il Canto degli Italiani" is played, remained almost always unfulfilled.[98]
^abScipio's helmet, which Italy has now worn, is a symbol of the impending struggle against theAustrian Empire oppressor.[3]
^abThegoddess Victoria. For a long time, the goddess Vittoria was closely linked toancient Rome, but now she is ready to dedicate herself to the new Italy for the series of wars that are necessary to drive the foreigners out of the national soil and unify the country.[3]
^abLiterally "tender her hair". Ancient Rome cut slaves' hair to distinguish them from free women, so Victoria must consign her hair to Italy and become a "slave" of it.[3]
^abAncient Rome made, with its conquests, the goddess Victoria "its slave".[3]
^Literally, "Let us tighten in a cohort," alluding to the combat unit of theancient Roman army. This very strong military reference, reinforced by the appeal to the glory and military power of ancient Rome, once again calls all men to arms against the oppressor.[3]
^This alludes to the call to arms of the Italian people with the aim of driving out the foreign ruler from national soil andunifying Italy, still divided into pre-unification states.[3]
^Mameli underlines the fact that Italy, understood as theItalian region, was not united. At the time (1847), in fact, it was still divided into nine states. For this reason, Italy had for centuries been often treated as a land of conquest.[3]
^Italy, still divided among the pre-unification states, will finally gather under a singleflag, merging into one country.[3]
^The third verse, which is dedicated to the political thought ofGiuseppe Mazzini, founder ofYoung Italy andYoung Europe, incites the search for national unity through the help ofdivine providence and thanks to the participation of the entire Italian people finally united in a common intent.[3]
^Francesco Ferruccio, defender of theFlorentine Republic during the1530 siege against the troops ofCharles V, Holy Roman Emperor, who sought to restore theMedici lordship. In this circumstance, the dying Ferruccio was cowardly finished with a stab byFabrizio Maramaldo, a captain of fortune in the service of Carlo V. "Vile, you kill a dead man", were the famous words of infamy that the hero addressed to his killer.[3]
^Migliorini, Bruno; Tagliavini, Carlo; Fiorelli, Piero; Borri, Tommaso Francesco, eds. (2010) [1969]."degli".Dizionario d'Ortografia e di Pronunzia della lingua italiana (in Italian). Rome:Rai Eri.ISBN978-88-397-1478-7.
^Associazione Nazionale Volontari di Guerra "Canti della Patria" ["Patrimonial songs" of the National Association of Veteran Volunteers] inIl Decennale – X anniversario della Vittoria, Anno VII dell'era fascista [The Decennial: The 10th anniversary of victory, Year 7 of thefascist era], Vallecchi Editore,Firenze, 1928, p. 236.
^"L'inno della Repubblica Romana" [The Hymn of the Roman Republic].Gruppo Laico di Ricerca: Associazione Culturale (in Italian). 14 February 2011. Retrieved30 November 2014.
^Class 3 (2010–2011)."Il canto degli italiani" [The song of the Italians].Cento50 Anni di...: Dalla realizzione dell'Unitá d'Italia ad oggi [50 Years After...: From the realization of Italian unity to today]. Momo: Instituto Comprensivo "G. Ferrari". Archived fromthe original on 4 November 2013. Retrieved17 November 2013.{{cite web}}: CS1 maint: numeric names: authors list (link)
^abcdTiriticc, Pierluigi (2014)."Inno di Mameli" [Mameli's hymn].RAIStoria (in Italian). Rome: RAI. Archived fromthe original on 3 April 2019. Retrieved7 May 2015.
^abReview ofI canti di Salò (De Marzi) (in Italian). Accessed 17 November 2014.
^Misuraca, Fara; Grasso, Alfonso, eds. (2009)."Fratelli d'Italia" [Brothers of Italy].Brigantino – il Portale del Sud [Brigantino: Gateway to the South] (in Italian). Naples: Centro Culturale e di Studi Storici "Brigantino – il Portale del Sud". Retrieved29 March 2015.
^ab"L'inno di Mameli: Un po' di storia" [Mameli's Hymn: A little history].Radio Marconi (in Italian). 2012. Archived from the original on 4 April 2019. Retrieved9 November 2014.
^"I simboli della Repubblica – L'emblema" [The symbols of the republic: the emblem].Presidenza della Repubblica (in Italian). Government of Italy. Archived fromthe original on 4 May 2016. Retrieved2 December 2014.
^Merla, Flaminia (5 July 2010)."Siae e Inno di Mameli" [SIAE and Mameli's hymn].Lawyers on Web (in Italian). Archived fromthe original on 5 December 2014. Retrieved30 November 2014.
Bassi, Adriano (2011).Fratelli d'Italia: I grandi personaggi del Risorgimento, la musica e l'unità (in Italian). Paoline.ISBN978-88-315-3994-4.
Caddeo, Rinaldo (1915).Inni di Guerra e Canti patriottici del Popolo Italiano (in Italian). Casa Editrice Risorgimento.ISBN1-178-22330-2.{{cite book}}:ISBN / Date incompatibility (help)
Maiorino, Tarquinio; Marchetti Tricamo, Giuseppe; Zagami, Andrea (2002).Il tricolore degli italiani. Storia avventurosa della nostra bandiera (in Italian). Arnoldo Mondadori Editore.ISBN978-88-04-50946-2.
Piazza, Serena (2010).Fratelli d'Italia. L'inno nazionale illustrato (in Italian). Rizzoli.ISBN978-88-17-04408-0.{{cite book}}: CS1 maint: ref duplicates default (link)
Ridolfi, Pierluigi (2002).Canti e poesie per un'Italia unita dal 1821 al 1861 (in Italian). Associazione Amici dell'Accademia dei Lincei.
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