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Rome Capitoline Museums 
The Capitoline Museums, or Musei Capitolini, are considered the world's oldest public museums. Established in 1471 when Pope Sixtus IV donated a collection of classical bronze statues to the city, they are situated on Piazza del Campidoglio, at the top of Capitoline Hill. The entrance to the Piazza del Campidoglio is flanked by two impressive statues of Castor and Pollux, the mythological twin brothers known as the Dioscuri. These statues are positioned at the top of the staircase, known as the Cordonata, which leads up to the piazza. They symbolize protection and are a striking feature of this historic site.  The Piazza del Campidoglio is considered one of the masterpieces of Renaissance urban design. It was conceived by Michelangelo in the 16th century, transforming the area into a harmonious and elegant space. The square is surrounded by three monumental palaces: the Palazzo Senatorio, serves as Rome's city hall, while the Palazzo dei Conservatori, and the Palazzo Nuovo buildings house the Capitoline Museums, showcasing collections of ancient art and artifacts. At its centre of the square stands a replica of the bronze equestrian statue of Emperor Marcus Aurelius, the original is displayed inside for protection.  The museum itself consists of the two main buildings, the Palazzo dei Conservatori and the Palazzo Nuovo, which are connected by an underground gallery known as the Lapidary Gallery. The museums house an extraordinary collection of ancient Roman, Greek, and medieval art, as well as Renaissance masterpieces. The Palazzo dei Conservatori was originally constructed in the 16th century, its design was heavily influenced by Michelangelo. Historically, the Palazzo dei Conservatori served as the seat of the magistrates of Rome, known as the "Conservatori," who were responsible for preserving Roman law and tradition. Today, it houses a collection of classical sculptures, frescoes, and artifacts. The building is filled with impressive rooms that highlight Rome’s artistic and historical legacy. Entry is into the courtyard that serves as an open-air gallery, The courtyard's design is framed by elegant archways and columns, and it features impressive ancient sculptures and architectural fragments.  Among the most striking artifacts are the colossal fragments of the statue of Constantine the Great. These remains come from a massive seated statue that was once located in the Basilica of Maxentius in the Roman Forum. The sheer scale of the pieces suggests that the full figure was around 12 meters (40 feet) tall. The fragments include the Head, made from a piece of marble more than 2 meters (6.5 feet) in height. This shows Constantine with a solemn and authoritative expression; the Hand which has an extended index finger, possibly once holding an imperial sceptre or a Christian symbol; its marble foot that indicates the statue’s imposing size. There are also a number of other parts including sections of the legs, arms, and torso, these would have been originally constructed from a combination of marble and brick, with bronze fittings. The statue was produced around 312–315 CE to celebrate Constantine's victory over Maxentius at the Battle of the Milvian Bridge in 312 CE. It would have reinforced his image as the ruler of the empire. Also to be found in the courtyard are other artifacts from antiquity, showcasing Rome’s artistic and political legacy. It contains reliefs from the Temple of Hadrian and the Goddess Rome, also known as “Cesi Roma”. This sculpture represents the personification of Rome, depicted as a seated female figure with a military helmet, symbolizing the city's strength and authority. This sculpture dates back to the Hadrianic period (117–138 CE) and is believed to be inspired by a Greek original from the 5th century BCE. The statue is crafted from marble and stands 10 feet tall (310 cm). There are also the Statue of a Imprisoned Barbarian King, emphasising Rome’s dominance over conquered territories. This was acquired by Pope Clement XI in the 18th century, when these sculptures were added to the courtyard to enhance its grandeur. When entering the Palazzo dei Conservatori from the courtyard, visitors encounter the Staircase Hall, which provides access to the museum's galleries. From there, access is gained to several notable spaces. This includes the Conservators' Apartment which refers to a series of rooms, richly decorated with frescoes, sculptures, and other works of art with each room having its unique theme and significance. The Hall of the Horatii and Curiatii, for instance is named after the famous legend of the Horatii and the Curiatii, Roman and Alba Longan triplets who fought to settle a conflict between their cities. The hall is known for its monumental sculptures and historical importance relating to early Roman history.  The battle is a legendary tale from ancient Rome, often recounted to highlight themes of loyalty, strategy, and sacrifice. It took place during the reign of Tullus Hostilius, the third king of Rome (672-640 BCE), as part of a conflict between Rome and the neighbouring city of Alba Longa. To avoid a full-scale war, it was agreed that the dispute would be settled by a duel between two sets of triplet brothers: the Roman Horatii and the Alban Curiatii. With the losing city submitting to the rule of the victor. The battle began, with two of the Horatii brothers being killed. The sole surviving Horatius, Publius, pretended to flee, luring the wounded Curiatii into chasing him. As they became separated due to their injuries, Publius turned and defeated them one by one, securing victory for Rome.  Another significant exhibit in the Hall of the Horatii and Curiatii is the "Rape of the Sabine Women" by Cavalier d'Arpino (Giuseppe Cesari). This may also be refered to as the "Abduction of the Sabine Women". The fresco, completed between 1635 and 1636, depicts the legendary episode from Roman mythology where the Sabine women were abducted by the Romans to ensure the growth of their newly founded city.  The Hall of the Geese gets its name from the sculptures of the Capitoline Geese, that saved Rome from a Gaulish attack in 390 BCE. The room's frescoes date back to the mid-16th century, during the papacy of Pope Paul III. These frescoes feature playful scenes set against real or imaginary landscapes, along with military trophies, floral motifs, and depictions of ancient games. The wooden ceiling, adorned with golden rosettes, adds to the room's elegance. Among the notable artworks in the Hall of the Geese is the Head of Medusa by Bernini, a striking sculpture that captures the mythical figure's head with incredible detail and emotion.  One of the most famous artefacts is the Capitoline Wolf, the statue depicting Romulus and Remus, the mythical founders of Rome, being suckled by a she-wolf. This is located in the Hall of the She-Wolf (Sala della Lupa).  The tale of Romulus and Remus is one of the most famous legends from ancient Rome, intertwined with the founding of the city itself. Romulus and Remus were twin brothers, born to Rhea Silvia, a Vestal Virgin and the daughter of a deposed king, Numitor. Their father was said to be Mars, the god of war. However, their existence posed a threat to their great-uncle Amulius, who had seized power from Numitor. To ensure his rule, Amulius ordered the twins to be abandoned in the Tiber River. A she-wolf discovered them and nurtured them, while a woodpecker (another sacred animal to Mars) brought them food. Eventually, they were found by a shepherd, Faustulus, and raised among humans. As they grew older, Romulus and Remus learned of their royal lineage and decided to overthrow Amulius, restoring their grandfather Numitor to the throne. Following their victory, the twins sought to establish a new city near the site of their miraculous survival. However, the brothers clashed over where to build the city and who should lead it. Romulus favoured the Palatine Hill, while Remus preferred the Aventine Hill. Their rivalry escalated and according to the legend, Romulus killed his brother. Romulus then became the sole founder of the city, which he named Rome after himself. The legend of Romulus and Remus encapsulates themes of destiny, rivalry, and divine intervention, and it serves as a foundation myth for the Roman civilization. The Hall of Triumphs (Sala dei Trionfi) displays a number of statues and artifacts related to Rome’s great military triumphs. This room also contains the bronze statue Lo Spinario, also known as the "Boy with Thorn”. This depicts a young boy who is removing a thorn from the sole of his foot.  The sculpture is believed to date back to the 1st century BCE, blending Hellenistic influences with Roman artistry. It was part of a collection of bronze statues donated to the people of Rome by Pope Sixtus IV in 1471, marking the foundation of the Capitoline Museums. The Hall of Hannibal is the only room in the fifteenth-century Palazzo dei Conservatori that has maintained its original proportions. The hall is dedicated to Rome’s conflicts with Carthage, and takes its name from the depiction of Hannibal on the central wall. The room features frescoes created in the early 1500s, by Bolognese painter Jacopo Ripanda. The frescoes, illustrate key moments from the Punic Wars. Below the frescoes, a frieze contains busts of Roman generals. The hall’s wooden ceiling, dates back to 1516-1519. At its centre, is the Capitoline She-Wolf, a symbol of Rome’s foundation, which appears for the first time as a decorative element. A similar room is the Hall of the Captains which contains frescoes by Tommaso Laureti created between 1587 and 1594. These frescoes depict episodes of Roman valour and civic virtues from the early Republican Age, including the Victory at Lake Regillus. The hall also features coffered ceilings with painted scenes, stone tablets, and statues commemorating notable figures, such as the marble statue of Marco Antonio Colonna which dates back to 1595 and commemorates the achievements of Marco Antonio Colonna, admiral of the Papal fleet and prominent figure in the Battle of Lepanto that took place on October 7, 1571.  Within the Hall of the Eagles there is a copy of the Artemis of Ephesus statue from the 2nd century BCE. This Roman copy, made of marble and bronze, is a small-scale replica of the original Hellenistic statue from the Temple of Artemis at Ephesus. It is adorned with symbols of fertility and animal heads, reflecting the goddess's role as a protector and nurturer.  The statue of Emperor Commodus as Hercules, also known as the "Bust of Commodus as Hercules," is located in the Halls of the Lamian Gardens (Horti Lamiani) This marble sculpture portrays Commodus in the guise of Hercules, complete with the lion's skin, a club, and the golden apples of the Hesperides, symbolizing the emperor's association with the mythological hero.  The Capitoline Picture Gallery (Pinacoteca Capitolina) was established in the mid-18th century and is one of the oldest public collections of paintings in the world. The gallery is organized into themed rooms, showcasing different artistic styles and periods and includes masterpieces from the 16th and 17th centuries, featuring works by Titian, Caravaggio, Rubens, and Guido Reni. In 1881 a collection of Oriental porcelain was added. The other building of the Capitoline Museums, was built in the 17th century following Michelangelo's architectural plans for Piazza del Campidoglio, though he did not live to see its completion. This was designed specifically to house sculptures and artifacts. It contains an outstanding collection of classical Roman and Greek statues, many of which were rediscovered during archaeological excavations in the city. Some of the most famous artworks in the Palazzo Nuovo include: The Capitoline Venus, which is a marble statue representing the goddess of love and beauty is a Roman copy of a lost Greek original. The statue depicts Venus emerging from her bath, modestly covering herself with both hands, a pose known as Venus Pudica.  The statue was discovered in Rome in the late 17th century and is one of the most celebrated representations of Venus in classical art. Acquired by Pope Benedict XIV in 1752 when it was placed in the Capitoline Museums. It was briefly taken to France by Napoleon but in 1816 it was returned to Rome. The Capitoline Venus is admired for its delicate craftsmanship, soft contours, and serene expression. In the Hall of the Galatian can be found a number of classical sculptures, including the Statue of Demeter, which depicts the Greek goddess of agriculture and fertility in a serene and majestic pose.   This room also features the famous statue of the Dying Gaul, which is a marble Roman copy of a lost Greek bronze statue and one of the most poignant pieces of ancient art. Created in the Hellenistic period (around the 3rd century BCE), the statue depicts a Gallic soldier, wounded and struggling in his final moments, it shows remarkable detail emphasising his muscular form, pained expression, and sense of dignity despite his defeat.  Discovered in Rome in 1876 the Statue of Marsyas is a Roman copy of a Greek original dating from the 4th century BCE. Sculptured from pavonazzetto marble it stands over 8.7 feet (266 cm) tall. According to Greek mythology, Marsyas was a satyr, half human, half goat, who challenged the god Apollo, claiming he could play music better than the god himself. Apollo was declared the winner and as punishment for losing, Apollo flayed Marsyas alive. The tale served as a cautionary myth about the dangers of pride and challenging the gods.  The museum displays an impressive collection of busts portraying emperors, philosophers, and mythological figures such as the Satyr of Praxiteles. This is also referred to as the "Resting Satyr", and typically portrays the mythical creature in a relaxed pose, leaning against a tree. Attributed to the ancient Greek sculptor Praxiteles, from the 4th century BCE. Praxiteles' satyr exudes grace, charm, and calm sensuality, embodying the ideals of human beauty and balance that were central to Greek art. |
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All Photographs were taken by and are copyright of Ron Gatepain
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