After discarding the hypothesis of creating a votive wood, where each tree would bear the name of a fallen citizen, the Forli town hall announced a two-stage competition in May 1925 for the creation of a monument to the citizens of Forlì who had fallen in the war (1915-'18). 

No limitation of style, character, shape or size was to animate a predominantly architectural or sculptural work glorifying the war hero, by now one of fascism's favourite idols and references, which was used to provide incitement to the younger generations: fascism and heroism, as examples of lifestyles, now seemed to coincide and identify with each other. Cesare Bazzani conceived a monumental votive column for Forlì, erected between a pair of sacrificial altars, suggested by the centrality of the spatial composition that provides for scenic arrangements of the surrounding areas, and in this specific case the intersection of the Via Emilia with the new large Station Avenue. A monument 30 metres high in all, of which only 22 metres for the tall Doric column in gilded Trani stone, which bears at its summit a bronze sculptural composition representing victory in the threefold field that befell the homeland: in the sky, on land, in the sea; three figures forming a powerful tripod, whose wings are raised to support a votive flame. 

The work is by Roman sculptor Benedetto Morescalchi. The two large base logs, as well as the respective fountains, are adorned with bas-reliefs, sculpted by Bernardino Boifava, representing the highlights of the heroes' lives: attack, defence, sacrifice and triumph; the gush of water, on the other hand, is a living, symbolic sign  of the permanent return of sacrifice and victory. It was inaugurated in 1932.