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Fragments of terracotta belonging to the decoration of the pediment of a temple. 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Petronilla HotspotPanoramaOverlayArea_6F93118D_6093_64E4_41D7_D1590436ABAA.toolTip = Hall of Santa Petronilla HotspotPanoramaOverlayArea_6EFF5AB2_60B6_E43C_41B5_53C1F2D2B62D.toolTip = Hall of Santa Petronilla HotspotPanoramaOverlayArea_8408BC71_F638_CF3D_41BE_A6330A2C9EFC.toolTip = Hall of Santa Petronilla HotspotPanoramaOverlayArea_9D0AD393_F628_F9FD_41D7_EA20B11F507D.toolTip = Hall of Santa Petronilla HotspotPanoramaOverlayArea_AFF439D8_EC18_72C5_41DE_7EB990127D5A.toolTip = Hall of the Captains HotspotPanoramaOverlayArea_4E720016_5CB6_56CD_41D1_52BAE6AB29CD.toolTip = Hall of the Captains HotspotPanoramaOverlayArea_4FD7ED1F_5CB2_2EFB_41BC_FCCDE085F925.toolTip = Hall of the Captains HotspotPanoramaOverlayArea_AFC95401_EC18_B147_41EA_43B60F4C15B4.toolTip = Hall of the Captains HotspotPanoramaOverlayArea_49FCEAA1_5DBD_EBC7_41CB_61ADC2C95D44.toolTip = Hall of the Captains HotspotMapOverlayArea_C7C6008F_8003_FBAC_41B5_2C7E236CB6E6.toolTip = Hall of the Captains HotspotMapOverlayArea_4209852A_35E0_FDC5_41AC_D89ED07072F9.toolTip = Hall of the Doves HotspotMapOverlayArea_EDBCD854_8006_AABC_41CE_DCF2273EC4BF.toolTip = Hall of the Doves HotspotPanoramaOverlayArea_75249A5A_619D_646C_41D4_E04B2F8C4848.toolTip = Hall of the Doves HotspotPanoramaOverlayArea_A18BBEB9_EC38_B147_41D8_958CB52570EE.toolTip = Hall of the Doves HotspotPanoramaOverlayArea_488AF9FA_5DB3_E945_41D2_0A2776D1B197.toolTip = Hall of the Eagles HotspotPanoramaOverlayArea_4F4E2F41_5C5E_2947_41CC_6A7400B57E4F.toolTip = Hall of the Eagles HotspotPanoramaOverlayArea_AB9ADC84_ECEF_D14D_41E1_1D91C5339F3D.toolTip = Hall of the Eagles HotspotPanoramaOverlayArea_48C5C09F_5C52_37FB_41C4_A3970E22D9A9.toolTip = Hall of the Eagles HotspotMapOverlayArea_CBC73AD0_8002_6FB4_41D2_444616556D23.toolTip = Hall of the Eagles HotspotPanoramaOverlayArea_AC70C591_ECE8_7347_41D6_2AB7C6C884AA.toolTip = Hall of the Eagles HotspotMapOverlayArea_EEF0F6C1_8005_A794_41D5_00956FF062E4.toolTip = Hall of the Emperors HotspotPanoramaOverlayArea_A6258601_EC28_5147_41D0_4CECFAD1CAEE.toolTip = Hall of the Emperors HotspotPanoramaOverlayArea_726934C7_6195_AC64_41D0_A1EF658F52C2.toolTip = Hall of the Emperors HotspotPanoramaOverlayArea_72FAD8A5_618D_6424_41C8_31401DD7206B.toolTip = Hall of the Emperors HotspotMapOverlayArea_F05850B1_8002_5BF4_41A3_6DC876859C9D.toolTip = Hall of the Faun HotspotPanoramaOverlayArea_7288B639_61B2_AC2C_41D7_5A948F635227.toolTip = Hall of the Faun HotspotPanoramaOverlayArea_A611E6EC_EC28_7EDD_41C5_D77CFAC2B4C4.toolTip = Hall of the Faun HotspotPanoramaOverlayArea_A62C30C9_EC29_B2C7_41C0_30058308FF9B.toolTip = Hall of the Faun HotspotPanoramaOverlayArea_728228C0_61B2_A45C_41CD_2F460C930DD7.toolTip = Hall of the Faun HotspotMapOverlayArea_41DE4543_35E0_7C4B_41A8_3E1A83DCBB9C.toolTip = Hall of the Faun HotspotMapOverlayArea_41C4C62E_35E0_7FDD_41A8_F2801CD188D4.toolTip = Hall of the Faun HotspotMapOverlayArea_F17A35EB_8002_6594_41C8_FE22E5915A1E.toolTip = Hall of the Gaul HotspotPanoramaOverlayArea_72BF1C64_61B6_FC24_41A5_B86FA88822C9.toolTip = Hall of the Gaul HotspotPanoramaOverlayArea_AF2F85B7_0D87_5930_4198_92593B5699E9.toolTip = Hall of the Gaul HotspotPanoramaOverlayArea_AFF01CF1_0D85_4F30_41A3_AEE626EEEE10.toolTip = Hall of the Gaul HotspotPanoramaOverlayArea_744AA985_6196_E4E4_41C9_80A981B66459.toolTip = Hall of the Gaul HotspotPanoramaOverlayArea_A63F89B7_EC38_534B_41E5_A9D16D7537E8.toolTip = Hall of the Gaul HotspotMapOverlayArea_43A6E5A7_35E0_BCCB_41C2_7A1876BC8FCE.toolTip = Hall of the Gaul HotspotMapOverlayArea_439609CB_35E0_B45B_41C5_91404177B580.toolTip = Hall of the Gaul HotspotPanoramaOverlayArea_4D123FD2_5CAE_2945_41D3_9F41CFF61F54.toolTip = Hall of the Geese HotspotPanoramaOverlayArea_49D12068_5DB2_5745_41BB_A44085C93EE8.toolTip = Hall of the Geese HotspotMapOverlayArea_C947F7B9_800E_E5F4_41C6_65C72F122E16.toolTip = Hall of the Geese HotspotMapOverlayArea_2CCAFE11_3560_8FC6_41A5_AB9463309A60.toolTip = Hall of the Geese HotspotPanoramaOverlayArea_AFF9676E_EC1B_DFDD_41D8_AF40B5169541.toolTip = Hall of the Geese HotspotPanoramaOverlayArea_4F1437C8_5C56_5945_41A8_7FE856674393.toolTip = Hall of the Geese HotspotPanoramaOverlayArea_D0FE2959_EC19_D3C7_41E5_FC3B08B482B6.toolTip = Hall of the Horatii and Curiatii HotspotPanoramaOverlayArea_4E9DFD29_5CBE_EEC7_41D5_6D565C4B344F.toolTip = Hall of the Horatii and Curiatii HotspotPanoramaOverlayArea_2AE43070_3797_F8E3_41BC_12D968113081.toolTip = Hall of the Horatii and Curiatii HotspotMapOverlayArea_C6453137_803E_BAFC_41D8_08FB7288D148.toolTip = Hall of the Horatii and Curiatii (a) HotspotMapOverlayArea_26807773_3560_BC4B_4192_B85D45BC6542.toolTip = Hall of the Horatii and Curiatii (a) HotspotMapOverlayArea_278E5C5B_3561_8C7B_41B4_A1A38F74B600.toolTip = Hall of the Horatii and Curiatii (a) HotspotMapOverlayArea_C9CCF8CC_8002_EBAC_4187_46072C632A35.toolTip = Hall of the Horatii and Curiatii (b) HotspotPanoramaOverlayArea_2D170F29_378E_0865_41AE_3D2AAC21FC37.toolTip 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HotspotPanoramaOverlayArea_7292CCD2_618F_DC7C_41A5_C2385FE2BF16.toolTip = Hall of the Philosophers HotspotPanoramaOverlayArea_7288F414_6193_63E4_41AC_E36D0F0898C7.toolTip = Hall of the Philosophers HotspotPanoramaOverlayArea_A19B3BD3_EC2F_D6CB_41E4_C8D5257D9818.toolTip = Hall of the Philosophers HotspotPanoramaOverlayArea_4FD11755_5CB6_D94F_4187_54180B67D75E.toolTip = Hall of the She-wolf and the Capitoline Fasti HotspotMapOverlayArea_2F67A0F5_3561_944F_41BC_EF6E9DB84C63.toolTip = Hall of the She-wolf and the Capitoline Fasti HotspotPanoramaOverlayArea_AFF3B9D9_EC18_72C7_41D6_38E66C251AF3.toolTip = Hall of the She-wolf and the Capitoline Fasti HotspotPanoramaOverlayArea_49F6FA2C_5C52_2ADD_41AB_4F090BDE5C95.toolTip = Hall of the She-wolf and the Capitoline Fasti HotspotMapOverlayArea_C9DB657A_800E_6574_41D0_A601A2458E0E.toolTip = Hall of the She-wolf and the Capitoline Fasti HotspotPanoramaOverlayArea_AC77F593_ECE8_734B_41B2_990C1598544F.toolTip = Hall of the She-wolf and the Capitoline 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Halls of the Horti di Mecenate HotspotPanoramaOverlayArea_4924584C_5DB3_D75D_41D3_5C4DDFFAD9D2.toolTip = Halls of the Horti di Mecenate 2 HotspotPanoramaOverlayArea_5D6EDE44_75A6_F42F_41DA_CA476653DC41.toolTip = Halls of the Horti di Mecenate 2 HotspotPanoramaOverlayArea_5D03D1BC_75B9_CC5F_41C3_1739187A2EFC.toolTip = Halls of the Horti di Mecenate 2 HotspotPanoramaOverlayArea_ABDEF718_ECE8_DF45_41E7_8AB9CEFB4C25.toolTip = Halls of the Horti di Mecenate 2 HotspotPanoramaOverlayArea_ABDEA716_ECE8_DF4D_41DE_CB8F7FF8174B.toolTip = Halls of the Horti di Mecenate 2 HotspotPanoramaOverlayArea_4BEE55B2_5DAE_59C5_41C5_6DEEDFB0EAE4.toolTip = Halls of the Horti di Mecenate 2 HotspotPanoramaOverlayArea_5CEE6D13_75A6_5429_41D9_27550AEE89C6.toolTip = Halls of the Horti di Mecenate 2 HotspotPanoramaOverlayArea_480EC157_5DD2_394B_41B6_7C32FC0A4602.toolTip = Halls of the Horti di Mecenate 3 HotspotPanoramaOverlayArea_457020E2_5DB2_F745_41BD_1305B154AA64.toolTip = Halls of the Horti di Mecenate 3 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media/video_F94C94EC_75FA_B5FF_41D4_A423AD5D6F3F_en.mp4 videolevel_BCB81E9E_389E_085F_41B6_F92FBA3A565D.posterURL = media/video_F94C94EC_75FA_B5FF_41D4_A423AD5D6F3F_poster_en.jpg ## Popup ### Body htmlText_EDA7C261_8AAA_E00B_41DE_F56F6CD5C486.html =
Barberini Faun
Volpato manufacturing, Rome
1786-1800 ca.
htmlText_EF03C88B_8AAF_201F_41CF_5003B4813FBA.html =
Centaur with a hare and a cupid
(Vatican Centaur)
Volpato manufacturing, Rome
1786-1800 ca.
htmlText_C6833857_8ADE_E037_41C2_AF51DE4E5B03.html =
Crucifixion
Gabriel Metsu
1665 ca.
htmlText_EDCE9B9C_8ABB_E039_41D8_50560424F3A4.html =
Dying Gaul
Volpato manufacturing, Rome
1786-1800 ca.
htmlText_D6BE426C_8AAB_E019_41D3_7809259BA84A.html =
Landscape with Orpheus charming animals and nymphs
Flemish painter
1650 ca.
htmlText_B04022F3_8AE7_600F_41C0_EFFFE43C7459.html =
Landscape with ruins
Maria Luigia Raggi (already attributed to Maestro dei Capricci di Prato)
1730-1740
htmlText_B0146CDF_8ADB_2037_41DC_682A10B9177B.html =
Landscape with ruins
Maria Luigia Raggi (already attributed to Maestro dei Capricci di Prato)
1730-1740
htmlText_EF0D16EB_8AA5_201F_41DD_5C2D25AC9106.html =
Ludovisi Ares
Volpato manufacturing, Rome
1786-1800 ca.
htmlText_4764061B_71D1_1BB1_417F_6ADF9390ECBF.html =
Madonna
Bartolomeo Bulgarini
1350
htmlText_954A9AB3_8A66_A2CA_41D0_B7AE64709148.html =
Persian Sybil
Guercino
1647
htmlText_BAF081EB_F6FB_F92D_41EA_031BAF2AF70B.html =
Persian Sybil
Guercino
1647
htmlText_9425CD63_8A66_664A_41DF_1B28D0820E56.html =
Persian Sybil
Guercino
1647
htmlText_942F0CD4_8A66_A64E_41DE_484B5885785B.html =
Persian Sybil
Guercino
1647
htmlText_B2D3573F_8AED_6077_41D0_5AEDD3F83956.html =
Portrait of a young man
Giovanni Bellini
1490-1500
htmlText_BDCD9300_8AFF_2009_41C2_278CE532C791.html =
Saint John the Baptist
Caravaggio
1602 ca.
htmlText_DF873534_8AA7_2009_41C8_BF141CFA47B4.html =
Supper in the house of a Pharisee
Maria Felice Tibaldi Subleyras
1748
htmlText_E22E3511_8AA5_600B_41E0_12DC111FAFB7.html =
The Abduction of Europa
Volpato manufacturing, Rome
1786-1800 ca.
htmlText_B645CC68_8AED_2019_41BD_6D1BFD898E09.html =
The painters Lucas and Cornelis de Wael
Anton van Dyck
1627 ca.
htmlText_DE480DF1_8ADB_600B_41C9_273AB4F63F8F.html =
View of Montecavallo
Gaspar van Wittel
1682
htmlText_9DAF44A0_DC23_2C53_41D6_5FE61D8CB81D.html =
A small statue of a Hermaphrodite holding Cupid


Roman copy of a Hellenistic original
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A small statue of a Hermaphrodite holding Cupid


Roman copy of a Hellenistic original


htmlText_9F53E0EA_D956_0AD3_41AA_823ABBA53BD4.html =
Acroterial group of Heracles and Athena from the area of the Archaic temple of Sant'Omobono


540-530 BC
htmlText_ABEAE189_EC18_D347_41C6_46339AC2D5E3.html =
Acroterial group of Heracles and Athena from the area of the Archaic temple of Sant'Omobono


540-530 BC
htmlText_76898BC3_341E_044A_41C6_E5F7999D1E08.html =
Acroterial group of Heracles and Athena from the area of the Archaic temple of Sant'Omobono


540-530 BC
htmlText_14EA3978_7073_087F_41C1_7E2D99AC95A3.html =
Aedicula-shaped cinerary urn


Mid-2nd century AD
htmlText_9D509412_F628_5EFF_4191_1CCB5ECBBC34.html =
Allegory of Good Citizen Government


Veronese


1551-1552
htmlText_4830AAEA_71EF_0893_41D3_5E335871800B.html =
Allegory of Good Citizen Government


Veronese


1551-1552
htmlText_9D0071E5_F618_D925_41E4_F232E970468F.html =
Allegory of Good Citizen Government


Veronese


1551-1552
htmlText_9D00D1E6_F618_D927_41DF_952088640FF4.html =
Allegory of Peace


Veronese


1551-1552
htmlText_4F7D16D4_71D1_78B7_41D8_CBDBC6234C36.html =
Allegory of Peace


Veronese


1551-1552
htmlText_9D51A416_F628_5EE7_418F_7D772E9E12D4.html =
Allegory of Peace


Veronese


1551-1552
htmlText_8F0A6DD6_F638_4967_4193_61C471D94573.html =
Allegory of Providence


Ludovico Carracci


1604-1605
htmlText_84203C7C_F638_CF2B_41D2_E9F3CCCEAAA8.html =
Allegory of Providence


Ludovico Carracci


1604-1605
htmlText_BBD42866_F6E8_7727_41E8_06A604504A91.html =
Allegory of Providence


Ludovico Carracci


1604-1605
htmlText_A5BB7BF4_0D8A_C930_419D_4D127AD3CD54.html =
Allegory


Simon Vouet


1623-1624
htmlText_3008DC9D_71B1_08B1_41B8_A12E6D7AB28B.html =
Allegory


Simon Vouet


1623-1624
htmlText_94204CD5_8A66_A64E_41D2_082FB549B6CB.html =
Allegory


Simon Vouet


1623-1624
htmlText_9549EAB4_8A66_A2CE_41D2_3D0509B446DF.html =
Allegory


Simon Vouet


1623-1624
htmlText_A219A09B_F6E8_37ED_41E0_8C36C9C20D30.html =
Allegory


Simon Vouet


1623-1624
htmlText_94257D64_8A66_664E_41D0_39E63FC203F3.html =
Allegory


Simon Vouet


1623-1624
htmlText_A2344B81_3472_04C6_41C0_07DD61D124E1.html =
Alum quarries of Tolfa


Pietro da Cortona
1626-1629
htmlText_A24E1D99_3472_1CC6_41BD_C44D80FC338A.html =
Alum quarries of Tolfa


Pietro da Cortona


1626-1629
htmlText_770825B1_F628_393D_41B9_11FAFC39805C.html =
Alum quarries of Tolfa


Pietro da Cortona


1626-1629
htmlText_46BC49B6_71F1_08F3_41D8_61D682AF60D5.html =
Annunciation


Garofalo


1528
htmlText_9D2CDA16_F618_CAE7_41E6_652DBABE1959.html =
Annunciation


Garofalo


1528
htmlText_60AFCD2E_34FE_1DDA_41C0_3FFE41763FAA.html =
Aristonothos' Krater


Second quarter VII century BC
htmlText_565F42EA_7071_1893_41DA_08DAD5139B7E.html =
Aristonothos' Krater


Second quarter VII century BC
htmlText_9D0301EA_F618_D92F_41EA_4FA88548E594.html =
Baptism of Christ


Domenico Tintoretto


ca. 1585
htmlText_4FE01ADD_71D3_08B1_419B_0391B67AACAE.html =
Baptism of Christ


Domenico Tintoretto


ca. 1585
htmlText_9D50541E_F628_5EE7_41DB_55F47641301A.html =
Baptism of Christ


Domenico Tintoretto


ca. 1585
htmlText_9D521404_F628_5EDB_4197_CAEFAF5123D8.html =
Baptism of Christ


Tiziano


1511-1512
htmlText_9D0591DF_F618_D965_41CC_7A1AF40E84ED.html =
Baptism of Christ


Tiziano


1511-1512
htmlText_46E1D925_71F1_0991_41D1_7580AC8A300A.html =
Baptism of Christ


Tiziano


1511-1512
htmlText_ABA2E775_ECE8_7FCF_41E0_6CCF9037B9C7.html =
Bas-relief with a dog from Tolfa, Tomb of the Dogs


First half of the 6th century BC
htmlText_40F7FD23_0A85_4ED0_4182_74BEB4DCCBD3.html =
Bas-relief with a dog from Tolfa, Tomb of the Dogs


First half of the 6th century BC
htmlText_5604A820_7071_F78F_4187_DEE255A29346.html =
Bas-relief with a dog from Tolfa, Tomb of the Dogs


First half of the 6th century BC
htmlText_513B8FC0_0A8E_C950_4190_D46AA53DB52C.html =
Base of a statue dedicated to Emperor Hadrian, the Vicomagistri Base


136 AD
htmlText_AF056284_0D9D_DBD0_416C_0D32497DB61D.html =
Base of a statue dedicated to Emperor Hadrian, the Vicomagistri Base


136 AD
htmlText_AB3AF881_EC28_B147_41DD_BB0393B43CF3.html =
Base of a statue dedicated to Emperor Hadrian, the Vicomagistri Base


136 AD
htmlText_EF244AA3_DC22_E455_41C3_8CA9468A65D1.html =
Base of a statue dedicated to Emperor Hadrian, the Vicomagistri Base


136 AD
htmlText_D02201EC_EC18_B2DD_41E1_3A0F3BC4D224.html =
Battle between the Horatii and Curiatii


Cavalier D'Arpino


1612-1613
htmlText_D012EBEC_EC18_F6DD_41B7_19D295342C99.html =
Battle between the Horatii and Curiatii


Cavalier D'Arpino


1612-1613
htmlText_68FB05C8_70BF_189F_41D1_4A9F56ED3368.html =
Battle between the Horatii and Curiatii


Cavalier D'Arpino


1612-1613
htmlText_30C583E2_7051_3893_41D2_7696B46CCE1B.html =
Blessed Soul


Guido Reni


1640-1642
htmlText_84210C7A_F638_CF2F_41E9_C3167400063D.html =
Blessed Soul


Guido Reni


1640-1642
htmlText_8F0D6DD4_F638_497B_41D8_6180131B8469.html =
Blessed Soul


Guido Reni


1640-1642
htmlText_40E829E3_0A85_4950_41A4_42B57EDA4A73.html =
Bronze horse


First half of the 5th century BC
htmlText_410258EC_0A85_B750_41A3_2E80DD13549A.html =
Bronze horse


First half of the 5th century BC
htmlText_2E057928_0AFA_B6D0_4182_414E96690AC0.html =
Bronze horse


First half of the 5th century BC
htmlText_6E370FB5_70F1_08F1_41D8_55213A423ED8.html =
Bronze portrait, the so-called Capitoline Brutus


4th-3rd century BC
htmlText_AFE4B9DD_EC18_72FF_41A3_46F61A5EB843.html =
Bronze portrait, the so-called Capitoline Brutus


4th-3rd century BC
htmlText_AF3761C3_0D9A_B950_4198_581AC8B6AB0F.html =
Bronze slab with the Lex de Imperio Vespasiani


69-70 AD
htmlText_351512F2_3436_044A_41C7_CF866DBD7343.html =
Bronze slab with the Lex de Imperio Vespasiani


69-70 AD
htmlText_3514F74D_3436_0C5E_4121_1FA30D38BAA0.html =
Bronze slab with the Lex de Imperio Vespasiani


69-70 AD
htmlText_AFE759DF_EC18_72FB_41D0_7AA906D72139.html =
Bronze vase, the so-called krater of Mithridates V Eupator


120-63 BC
htmlText_6DD21FAF_70F3_0891_41D9_4D9AC65817F3.html =
Bronze vase, the so-called krater of Mithridates V Eupator


120-63 BC
htmlText_9AE0B3F0_DC21_2BB3_41B9_D1EF6929B243.html =
Bust of Augustus


Early / Middle Augustan Age (31-15 BC)
htmlText_531EA159_70F1_39B1_41D9_B1B61BF45976.html =
Bust of Medusa


Gian Lorenzo Bernini


1644-1648
htmlText_AF800595_ECE8_734F_41E5_088CBD10FE8A.html =
Bust of Medusa


Gian Lorenzo Bernini


1644-1648
htmlText_A17C7A47_EC28_D1CB_41C3_1A3CB4183A12.html =
Bust of Zeus, the so-called Della Valle Jupiter


Roman copy from the 2nd century AD of a Greek original from the 4th century BC
htmlText_E1785BAE_DC27_5BAF_41E7_D0A7ECE6EDB5.html =
Bust of Zeus, the so-called Della Valle Jupiter


Roman copy from the 2nd century AD of a Greek original from the 4th century BC
htmlText_95EE9765_0D8B_5950_41A7_5ED2C4161BC7.html =
Capitoline Medal Collection


The Capitoline Medal Collection, founded in 1872, houses the numismatic, medal, glyptic and jewellery collections belonging to the municipal assets.
The establishment of a numismatic section within the Capitoline Museums is linked to a bequest to the city of Rome by Ludovico Stanzani, consisting of 9251 coins (mostly numismatic material issued in the mints of Central Europe and ancient or modern Asia Minor) along with a large number of precious stones.
The immediate interest of Augusto Castellani, a member of the famous Roman family of goldsmiths, director of the Capitoline Museums from 1873 and generous donor of 9,074 coins from the territory of Rome, made it possible to set up the new museum sector.
Just a few years later, the museum was enriched by the discovery of a large number of ancient numismatic specimens (about 40,000 pieces) and engraved stones from the substratum of Rome, which had become the capital of Italy and therefore underwent considerable urban transformation.
At the same time, the Municipal Archaeological Commission, which had been set up to protect the ancient objects that had been found and provide for new acquisitions, increased the numismatic collection with the purchase of 456 Roman and Byzantine gold coins and solidi collected by Marquis Giampietro Campana who, during the 1800s, had expanded an earlier collection begun by the Albani family.
In rapid succession, the medal collection of more than 2366 pieces belonging to Giulio Bignami from Bologna was added, characterized mainly by Roman Republican specimens, the seals and medal collection of the Orsini family, as well as a number of smaller collections and individual items donated and offered for sale to the Municipality of Rome.
With the transformation of the city of Rome following the destruction of some ancient quarters and the excavations carried out by the Governor’s office, the Capitoline Medal Collection continued to increase the size of its holdings with the discovery of numerous treasures.
Among these, the most important were
- the hoard from the Tower of the Militia, discovered in 1937 and consisting of 1371 specimens (mostly medieval Provençal denarii);
- the hoard discovered in 1938 in the Capitoline Hill square, consisting of 77 silver coins from the first Roman Republican series, and of Celtic and Magna Graecia specimens;
- the hoard of Republican denarii from the sacred area of Largo Argentina;
- finally, the treasure from Via Alessandrina, acquired by the Municipality of Rome in 1942, consisting of 17 kilos of gold, including Greek, Roman, Byzantine, medieval and modern coins and ancient and modern jewellery, some of which came from the Boncompagni-Ludovisi collection. The hoard came to light in 1933 during the demolition of the houses for the new layout of Via dei Fori Imperiali. It had been hidden in a compartment in the wall of a building by its owner, the antiquarian Francesco Martinetti, who died in Rome in 1895.
Finally, after the Second World War, the Medal Collection received donations from Commander Eugenio Di Castro (including Republican asses and “madonnine from Bologna”) and Baron Jordanov.
The most recent increases to the collection are due to purchases of rare series, such as the two silver medals of Benedict XIV (1749) and Clement XIII (1765), related to the history of the Capitoline collections, or the groschen and half-groschen of Brancaleone d'Andalò, and finally to the annual coinage issued by the State Mint on behalf of the Municipality of Rome on the occasion of April 21st, the Christmas of Rome.



htmlText_A9761279_846B_6696_41D5_7ADF6ACF5CF8.html =
Capitoline Medal Collection


The Capitoline Medal Collection, founded in 1872, houses the numismatic, medal, glyptic and jewellery collections belonging to the municipal assets.
The establishment of a numismatic section within the Capitoline Museums is linked to a bequest to the city of Rome by Ludovico Stanzani, consisting of 9251 coins (mostly numismatic material issued in the mints of Central Europe and ancient or modern Asia Minor) along with a large number of precious stones.
The immediate interest of Augusto Castellani, a member of the famous Roman family of goldsmiths, director of the Capitoline Museums from 1873 and generous donor of 9,074 coins from the territory of Rome, made it possible to set up the new museum sector.
Just a few years later, the museum was enriched by the discovery of a large number of ancient numismatic specimens (about 40,000 pieces) and engraved stones from the substratum of Rome, which had become the capital of Italy and therefore underwent considerable urban transformation.
At the same time, the Municipal Archaeological Commission, which had been set up to protect the ancient objects that had been found and provide for new acquisitions, increased the numismatic collection with the purchase of 456 Roman and Byzantine gold coins and solidi collected by Marquis Giampietro Campana who, during the 1800s, had expanded an earlier collection begun by the Albani family.
In rapid succession, the medal collection of more than 2366 pieces belonging to Giulio Bignami from Bologna was added, characterized mainly by Roman Republican specimens, the seals and medal collection of the Orsini family, as well as a number of smaller collections and individual items donated and offered for sale to the Municipality of Rome.
With the transformation of the city of Rome following the destruction of some ancient quarters and the excavations carried out by the Governor’s office, the Capitoline Medal Collection continued to increase the size of its holdings with the discovery of numerous treasures.
Among these, the most important were
- the hoard from the Tower of the Militia, discovered in 1937 and consisting of 1371 specimens (mostly medieval Provençal denarii);
- the hoard discovered in 1938 in the Capitoline Hill square, consisting of 77 silver coins from the first Roman Republican series, and of Celtic and Magna Graecia specimens;
- the hoard of Republican denarii from the sacred area of Largo Argentina;
- finally, the treasure from Via Alessandrina, acquired by the Municipality of Rome in 1942, consisting of 17 kilos of gold, including Greek, Roman, Byzantine, medieval and modern coins and ancient and modern jewellery, some of which came from the Boncompagni-Ludovisi collection. The hoard came to light in 1933 during the demolition of the houses for the new layout of Via dei Fori Imperiali. It had been hidden in a compartment in the wall of a building by its owner, the antiquarian Francesco Martinetti, who died in Rome in 1895.
Finally, after the Second World War, the Medal Collection received donations from Commander Eugenio Di Castro (including Republican asses and “madonnine from Bologna”) and Baron Jordanov.
The most recent increases to the collection are due to purchases of rare series, such as the two silver medals of Benedict XIV (1749) and Clement XIII (1765), related to the history of the Capitoline collections, or the groschen and half-groschen of Brancaleone d'Andalò, and finally to the annual coinage issued by the State Mint on behalf of the Municipality of Rome on the occasion of April 21st, the Christmas of Rome.



htmlText_AD94F3C8_8551_E353_41D1_FC9786318C66.html =
Capitoline Museums
Piazza del Campidoglio, 1, 00186 Rome RM


For information consult the site www.museicapitolini.org or contact 06 0608 (every day from 9.00 to 19.00).
htmlText_FC3A5E3E_EC68_B1BD_41B4_925163132D8A.html =
Capitoline Museums
Piazza del Campidoglio, 1, 00186 Rome RM


For information consult the site www.museicapitolini.org or contact 06 0608 (every day from 9.00 to 19.00).
htmlText_AABBD7B2_ECE8_7F45_41C0_1CA3E26215EC.html =
Capitoline She-wolf


5th century BC or Middle Ages
The she-wolf, with its extraordinary evocative power, is the symbol of the city.
It arrived on Capitoline Hill as a donation from Pope Sixtus IV, and was initially placed on the 15th century façade of the palace before being moved inside during Michelangelo's renovation. At that time, the twins, attributed by some to Pollaiolo, were added, transforming the Lateran's ancient symbol of justice into the “Mater Romanorum”.
The creation of the work, which probably originally had nothing to do with the legend of Rome's origins, can be traced back to Etruscan or Magna Graecia workshops from the 5th century BC. Recently, on the basis of analyses of the casting soil, a date in the Middle Ages has been suggested.
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Capitoline She-wolf


5th century BC or Middle Ages
The she-wolf, with its extraordinary evocative power, is the symbol of the city.
It arrived on Capitoline Hill as a donation from Pope Sixtus IV, and was initially placed on the 15th century façade of the palace before being moved inside during Michelangelo's renovation. At that time, the twins, attributed by some to Pollaiolo, were added, transforming the Lateran's ancient symbol of justice into the “Mater Romanorum”.
The creation of the work, which probably originally had nothing to do with the legend of Rome's origins, can be traced back to Etruscan or Magna Graecia workshops from the 5th century BC. Recently, on the basis of analyses of the casting soil, a date in the Middle Ages has been suggested.
htmlText_5CDA296D_DC26_E4AD_41EA_573E39F15392.html =
Capitoline She-wolf


5th century BC or Middle Ages
The she-wolf, with its extraordinary evocative power, is the symbol of the city.
It arrived on Capitoline Hill as a donation from Pope Sixtus IV, and was initially placed on the 15th century façade of the palace before being moved inside during Michelangelo's renovation. At that time, the twins, attributed by some to Pollaiolo, were added, transforming the Lateran's ancient symbol of justice into the “Mater Romanorum”.
The creation of the work, which probably originally had nothing to do with the legend of Rome's origins, can be traced back to Etruscan or Magna Graecia workshops from the 5th century BC. Recently, on the basis of analyses of the casting soil, a date in the Middle Ages has been suggested.
htmlText_ABD45583_ECE8_D34B_41DB_FD19E9609FFC.html =
Capitoline She-wolf


5th century BC or Middle Ages
The she-wolf, with its extraordinary evocative power, is the symbol of the city.
It arrived on Capitoline Hill as a donation from Pope Sixtus IV, and was initially placed on the 15th century façade of the palace before being moved inside during Michelangelo's renovation. At that time, the twins, attributed by some to Pollaiolo, were added, transforming the Lateran's ancient symbol of justice into the “Mater Romanorum”.
The creation of the work, which probably originally had nothing to do with the legend of Rome's origins, can be traced back to Etruscan or Magna Graecia workshops from the 5th century BC. Recently, on the basis of analyses of the casting soil, a date in the Middle Ages has been suggested.
htmlText_AA9C0FF3_ECEB_CECB_41E4_2CB6B08BCF4F.html =
Capitoline She-wolf


5th century BC or Middle Ages
The she-wolf, with its extraordinary evocative power, is the symbol of the city.
It arrived on Capitoline Hill as a donation from Pope Sixtus IV, and was initially placed on the 15th century façade of the palace before being moved inside during Michelangelo's renovation. At that time, the twins, attributed by some to Pollaiolo, were added, transforming the Lateran's ancient symbol of justice into the “Mater Romanorum”.
The creation of the work, which probably originally had nothing to do with the legend of Rome's origins, can be traced back to Etruscan or Magna Graecia workshops from the 5th century BC. Recently, on the basis of analyses of the casting soil, a date in the Middle Ages has been suggested.
htmlText_ABD1DB4C_ECE8_B7DD_41CD_651B50A7CF1A.html =
Capitoline She-wolf


5th century BC or Middle Ages
The she-wolf, with its extraordinary evocative power, is the symbol of the city.
It arrived on Capitoline Hill as a donation from Pope Sixtus IV, and was initially placed on the 15th century façade of the palace before being moved inside during Michelangelo's renovation. At that time, the twins, attributed by some to Pollaiolo, were added, transforming the Lateran's ancient symbol of justice into the “Mater Romanorum”.
The creation of the work, which probably originally had nothing to do with the legend of Rome's origins, can be traced back to Etruscan or Magna Graecia workshops from the 5th century BC. Recently, on the basis of analyses of the casting soil, a date in the Middle Ages has been suggested.
htmlText_ABDB1D44_ECE8_53CD_41DB_3182569C2CE2.html =
Capitoline She-wolf


5th century BC or Middle Ages
The she-wolf, with its extraordinary evocative power, is the symbol of the city.
It arrived on Capitoline Hill as a donation from Pope Sixtus IV, and was initially placed on the 15th century façade of the palace before being moved inside during Michelangelo's renovation. At that time, the twins, attributed by some to Pollaiolo, were added, transforming the Lateran's ancient symbol of justice into the “Mater Romanorum”.
The creation of the work, which probably originally had nothing to do with the legend of Rome's origins, can be traced back to Etruscan or Magna Graecia workshops from the 5th century BC. Recently, on the basis of analyses of the casting soil, a date in the Middle Ages has been suggested.
htmlText_E786400F_D972_0951_41E1_A6F3862871C0.html =
Capitoline She-wolf


5th century BC or Middle Ages
The she-wolf, with its extraordinary evocative power, is the symbol of the city.
It arrived on Capitoline Hill as a donation from Pope Sixtus IV, and was initially placed on the 15th century façade of the palace before being moved inside during Michelangelo's renovation. At that time, the twins, attributed by some to Pollaiolo, were added, transforming the Lateran's ancient symbol of justice into the “Mater Romanorum”.
The creation of the work, which probably originally had nothing to do with the legend of Rome's origins, can be traced back to Etruscan or Magna Graecia workshops from the 5th century BC. Recently, on the basis of analyses of the casting soil, a date in the Middle Ages has been suggested.
htmlText_908079F6_D8AE_3AB3_41BE_45B905735320.html =
Cast of a tomb of a young girl from the excavations in the area of the Exedra of Marcus Aurelius, detail of the grave goods


Middle Bronze Age (17th-14th centuries BC)
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Chapel


The decoration of the chapel was completed in the 17th century with paintings depicting the four evangelists and other saints.
Recent restoration work has made it possible to reconstruct the ancient chapel, which had undergone considerable tampering over time.
The small room, dedicated to the Virgin Mary and Saints Peter and Paul, was decorated during the years 1575-1578 by painters Jacopo Rocchetti and Michele Alberti with gilded stucco.
On the vault are frescoed scenes depicting episodes from the lives of the two saints, protectors of the city.
In the same years, the painter Marcello Venusti painted the altarpiece depicting the Virgin Mary in Glory between Saints Peter and Paul, with the city of Rome that the two apostles entrust to the Virgin's protection in the background.
On the long wall opposite the window, covering a gilded grate that at one time connected with the adjacent Hall of the Captains, is the detached fresco of the Madonna and Child by Andrea d’Assisi, from the 15th century loggia of the Palace.
During Urban VIII's pontificate (1623 - 1644), the beautiful altarpiece with the coat of arms of the pope was made with inlays of coloured marble. In the same years, the decoration of the chapel was also completed with paintings of the Roman school in honour of the Evangelists and of Saints particularly venerated in the city.
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Coffered ceiling


1865
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Coffered ceiling


1865
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Coffered ceiling


Mid-16th century
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Colossal Statue of Constantine from the Basilica of Maxentius: hand


Right hand


313-324 AD
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Colossal Statue of Constantine from the Basilica of Maxentius: head


313-324 AD
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Colossal Statue of Constantine from the Basilica of Maxentius: head


313-324 AD
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Colossal Statue of Constantine from the Basilica of Maxentius: right hand


313-324 AD
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Colossal bronze statue of Constantine: head


4th century AD
Head, hand and globe belonging to a colossal bronze statue of the emperor Constantine, about ten to twelve meters high; in the Middle Ages, these materials were displayed in front of the Popes' palace at the Lateran. The Popes particularly admired the figure of Constantine, who would have granted them temporal power over Rome through a document, the “Donation of Constantine”', which would, however, turn out to be a blatant Medieval forgery. This gigantic face has been stored on Capitoline Hill since 1471, when Pope Sixtus IV donated the Lateran bronzes to the citizens of Rome, the first nucleus of works in what would later become the Capitoline Museums.
Provenance: Formerly in the Lateran. Gift of Pope Sixtus IV (1471)
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Colossal bronze statue of Constantine: head


4th century AD
Head, hand and globe belonging to a colossal bronze statue of the emperor Constantine, about ten to twelve meters high; in the Middle Ages, these materials were displayed in front of the Popes' palace at the Lateran. The Popes particularly admired the figure of Constantine, who would have granted them temporal power over Rome through a document, the “Donation of Constantine”', which would, however, turn out to be a blatant Medieval forgery. This gigantic face has been stored on Capitoline Hill since 1471, when Pope Sixtus IV donated the Lateran bronzes to the citizens of Rome, the first nucleus of works in what would later become the Capitoline Museums.
Provenance: Formerly in the Lateran. Gift of Pope Sixtus IV (1471)
htmlText_988E17CF_D972_16D1_41DA_8A6591FB628A.html =
Colossal bronze statue of Constantine: head


4th century AD
Head, hand and globe belonging to a colossal bronze statue of the emperor Constantine, about ten to twelve meters high; in the Middle Ages, these materials were displayed in front of the Popes' palace at the Lateran. The Popes particularly admired the figure of Constantine, who would have granted them temporal power over Rome through a document, the “Donation of Constantine”', which would, however, turn out to be a blatant Medieval forgery. This gigantic face has been stored on Capitoline Hill since 1471, when Pope Sixtus IV donated the Lateran bronzes to the citizens of Rome, the first nucleus of works in what would later become the Capitoline Museums.
Provenance: Formerly in the Lateran. Gift of Pope Sixtus IV (1471)
htmlText_AA9C1FEC_ECEB_CEDD_41C2_98A01CE8EDC6.html =
Colossal bronze statue of Constantine: head


4th century AD
Head, hand and globe belonging to a colossal bronze statue of the emperor Constantine, about ten to twelve meters high; in the Middle Ages, these materials were displayed in front of the Popes' palace at the Lateran. The Popes particularly admired the figure of Constantine, who would have granted them temporal power over Rome through a document, the “Donation of Constantine”', which would, however, turn out to be a blatant Medieval forgery. This gigantic face has been stored on Capitoline Hill since 1471, when Pope Sixtus IV donated the Lateran bronzes to the citizens of Rome, the first nucleus of works in what would later become the Capitoline Museums.
Provenance: Formerly in the Lateran. Gift of Pope Sixtus IV (1471)
htmlText_ABD01B52_ECE8_B7C5_41C5_3D61AD71D016.html =
Colossal bronze statue of Constantine: head


4th century AD
Head, hand and globe belonging to a colossal bronze statue of the emperor Constantine, about ten to twelve meters high; in the Middle Ages, these materials were displayed in front of the Popes' palace at the Lateran. The Popes particularly admired the figure of Constantine, who would have granted them temporal power over Rome through a document, the “Donation of Constantine”', which would, however, turn out to be a blatant Medieval forgery. This gigantic face has been stored on Capitoline Hill since 1471, when Pope Sixtus IV donated the Lateran bronzes to the citizens of Rome, the first nucleus of works in what would later become the Capitoline Museums.
Provenance: Formerly in the Lateran. Gift of Pope Sixtus IV (1471)
htmlText_ABD41587_ECE8_D34B_41E0_B81DD8534AB4.html =
Colossal bronze statue of Constantine: head


4th century AD
Head, hand and globe belonging to a colossal bronze statue of the emperor Constantine, about ten to twelve meters high; in the Middle Ages, these materials were displayed in front of the Popes' palace at the Lateran. The Popes particularly admired the figure of Constantine, who would have granted them temporal power over Rome through a document, the “Donation of Constantine”', which would, however, turn out to be a blatant Medieval forgery. This gigantic face has been stored on Capitoline Hill since 1471, when Pope Sixtus IV donated the Lateran bronzes to the citizens of Rome, the first nucleus of works in what would later become the Capitoline Museums.
Provenance: Formerly in the Lateran. Gift of Pope Sixtus IV (1471)
htmlText_AAB257AB_ECE8_7F5B_419E_8B2D86401945.html =
Colossal bronze statue of Constantine: head


4th century AD
Head, hand and globe belonging to a colossal bronze statue of the emperor Constantine, about ten to twelve meters high; in the Middle Ages, these materials were displayed in front of the Popes' palace at the Lateran. The Popes particularly admired the figure of Constantine, who would have granted them temporal power over Rome through a document, the “Donation of Constantine”', which would, however, turn out to be a blatant Medieval forgery. This gigantic face has been stored on Capitoline Hill since 1471, when Pope Sixtus IV donated the Lateran bronzes to the citizens of Rome, the first nucleus of works in what would later become the Capitoline Museums.
Provenance: Formerly in the Lateran. Gift of Pope Sixtus IV (1471)
htmlText_ABDBDD49_ECE8_53C7_41D0_29BD2397855C.html =
Colossal bronze statue of Constantine: head


4th century AD
Head, hand and globe belonging to a colossal bronze statue of the emperor Constantine, about ten to twelve meters high; in the Middle Ages, these materials were displayed in front of the Popes' palace at the Lateran. The Popes particularly admired the figure of Constantine, who would have granted them temporal power over Rome through a document, the “Donation of Constantine”', which would, however, turn out to be a blatant Medieval forgery. This gigantic face has been stored on Capitoline Hill since 1471, when Pope Sixtus IV donated the Lateran bronzes to the citizens of Rome, the first nucleus of works in what would later become the Capitoline Museums.
Provenance: Formerly in the Lateran. Gift of Pope Sixtus IV (1471)
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Colossal bronze statue of Constantine: left hand


4th century AD
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Colossal bronze statue of Constantine: left hand


4th century AD
htmlText_AA9F4FEA_ECEB_CEDA_41E5_C421BD92F0CB.html =
Colossal bronze statue of Constantine: left hand


4th century AD
htmlText_ABD54586_ECE8_D34D_418D_92D2D5764F4E.html =
Colossal bronze statue of Constantine: left hand


4th century AD
htmlText_AAB497B0_ECE8_7F45_41EB_AC489CF01EF4.html =
Colossal bronze statue of Constantine: left hand


4th century AD
htmlText_ABDA7D47_ECE8_53CB_41EC_C46FD80536F0.html =
Colossal bronze statue of Constantine: left hand


4th century AD
htmlText_988BDC08_D976_195F_41DE_71B97CB14E19.html =
Colossal bronze statue of Constantine: left hand


4th century AD
htmlText_985FBC43_D976_19D1_41E5_65F8E7C1E8FB.html =
Colossal bronze statue of Constantine: left hand


4th century AD
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Colossal statue of Mars Ultor, the so-called Pyrrhus


End of the 1st century AD
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Colossal statue of Mars Ultor, the so-called Pyrrhus


End of the 1st century AD
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Colossal statue of a male deity, headless


Late 2nd century BC/Sillan Age
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Colossal statue of a male deity, headless


Late 2nd century BC/Sillan Age
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Colossal statue of a river god, the so-called Marphurius


End of the 1st century AD
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Colossal statue of a river god, the so-called Marphurius


End of the 1st century AD
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Colossal statue of seated personification of Rome, the so-called Roma Cesi


Roman copy from the Hadrian period (117-138 AD) of a Greek original from the 5th century BC
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Colossal statue of seated personification of Rome, the so-called Roma Cesi


Roman copy from the Hadrian period (117-138 AD) of a Greek original from the 5th century BC
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Consular and Triumphal Capitoline Fasti


Augustan Age (27 BC-14 AD)
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Consular and Triumphal Capitoline Fasti


Augustan Age (27 BC-14 AD)
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Cumaean Sibyl


Domenichino


1622


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Cumaean Sibyl


Domenichino


1622


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Cumaean Sibyl


Domenichino


1622


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Cumaean Sibyl


Domenichino


1622


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Dancing monkeys


Meissen Manufactory


ca. 1755-1760
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David and Goliath


Guillaume Courtois


ca. 1555-1660
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David and Goliath


Guillaume Courtois


ca. 1555-1660
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David


Giovanni Francesco Romanelli


ca. 1638
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David


Giovanni Francesco Romanelli


ca. 1638
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David


Giovanni Francesco Romanelli


ca. 1638
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Death of Adonis


Emilio Savonanzi


ca. 1623-1624
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Death of Adonis


Emilio Savonanzi


ca. 1623-1624
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Della Valle Satyr- Statue of Pan


2nd century AD
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Della Valle Satyr


From an original of the Hellenistic period
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Detail of the frieze with the Capitoline square towards the Aracoeli


First half of the 16th century
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Diana and Endymion


Pier Francesco Mola


1650-1660
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Diana and Endymion


Pier Francesco Mola


1650-1660
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Diana the Huntress


Cavalier d’Arpino


1602-1603
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Diana the Huntress


Cavalier d’Arpino


1602-1603
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Discovery of the She-wolf


Cavalier D'Arpino


1596
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Dispute of Saint Catherine of Alexandria


Prospero Fontana


1551
htmlText_9AE1DD97_F638_49E5_41D3_1BB23EA12A6F.html =
Dispute of Saint Catherine of Alexandria


Prospero Fontana


1551
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Egyptian Room


Most of the works on display come from the Campus Martius, the most important sanctuary in Rome dedicated to Egyptian gods.
At the time of its greatest splendour, after its reconstruction by the Emperor Domitian following the great fire that destroyed Campus Martius in 80 AD, the great architectural complex was spread over a particularly large area (about 220 x 70 meters), with the temples of Isis and Serapis connected by a large rectangular square.
A long avenue, similar to the processional way of the great Egyptian sanctuaries, led to the temple of Isis: the monumental entrance was decorated with grey granite columns with shafts depicting priests, musicians and singers (displayed in the Courtyard) and surmounted by white marble capitals in the shape of bells decorated with Egyptian palm leaves. Sphinxes and small obelisks alternated along the avenue, and a canal ran through it where sacred water flowed, alluding to the Nile River and playing an important role in religious rituals. Of particular interest was the discovery of a pink granite crocodile inside the canal, evidently immersed in the water, which completed the suggestion of the Nilotic environment.
On the opposite side stood the temple of Serapis, which corresponds to the area where the church of Santo Stefano del Cacco was erected. Its name derives from the discovery in this area of a statue of a cynocephalus (“cacco” or “macacco”) now in the Gregorian Egyptian Museum, which together with other similar statues preserved in this room probably decorated the portico of the entrance to the temple.
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Enthroned Madonna and Saints


Macrino d'Alba


1492-1493
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Enthroned Madonna and Saints


Macrino d'Alba


1492-1493
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Equestrian Statue of Marcus Aurelius


161-180 AD
The equestrian monument dedicated to the emperor Marcus Aurelius (161-180 AD) is not mentioned in the ancient literary sources, but it is likely that it was erected either in 176 AD, along with numerous other honours given to him on the occasion of his triumph over the Germanic populations, or in 180 AD, immediately after his death. At that time, there were many equestrian statues in Rome: the late imperial descriptions of the city's regions list twenty-two of them, called equi magni, i.e. greater than life, similar to the monument of Marcus Aurelius. The latter is the only one that has survived to the present day, and because of its completeness, it soon took on a symbolic value for all those who wanted to be the heirs of ancient imperial Rome. Its original location is not known. However, Carlo Fea, who first attributed the monument's salvation to the erroneous identification of the knight with Emperor Constantine, refuted the hypothesis put forward by Nardini and accepted by Winckelmann that the statue was erected from the beginning at the Lateran, where it is mentioned in medieval sources.
In reality, it can only be said that the statue was erected for a public dedication and that, therefore, its most probable original location was either the Roman Forum or the square with the dynastic temple surrounding the Column of Marcus Aurelius. The presence of the bronze sculpture in the Lateran is mentioned as early as the 10th century, but it was probably there since at least the end of the 8th century, when Charlemagne wanted to duplicate the arrangement of the campus Lateranenis, transferring a similar equestrian statue brought from Ravenna to the front of his palace in Aquisgrana (Aachen). In January 1538, by order of Pope Paul III Farnese, the statue was transferred to the Capitoline Hill, which had become the headquarters of the city authorities since 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to restore the statue of Marcus Aurelius. The great Florentine artist, instead of limiting himself to designing a suitable placement for the monument, made it the focal point of the admirable architectural complex in Piazza del Campidoglio. The investigations ordered by the City Council following the terrorist attack on the Senatorial Palace on April 19, 1979 revealed that the equestrian statue of Marcus Aurelius was suffering from serious corrosion and was in a worrying static condition, particularly because of cracks in the legs.
On January 8, 1981, the knight was removed from Michelangelo's base and on January 17, the monument was transferred to the laboratory of the Central Institute for Conservation and Restoration. The conservation work, in the absence of established ordinary procedures, allowed for great development in investigation techniques and technological innovation of the available instrumentation. After a long and careful phase of preliminary studies, aimed at defining the state of conservation and the methods of intervention used on the bronze artefact, the restoration work was completed at the end of 1988, opening a new phase in the life of the equestrian monument. The structural and superficial fragility of the material brought the issue of the protection of masterpieces not placed in museums to everyone's attention. It was immediately clear that the adequate protection of ancient bronze statues would only be possible if all of the thermal and mechanical stress resulting from outdoor exhibition were excluded. The desire to see the bronze statue in the centre of Piazza del Campidoglio was naturally unanimous, but the lesser evil was chosen.
Temporary placement in an enclosed space under controlled environmental conditions was the only choice able to adequately meeting the need to preserve and at the same time make accessible a unique and precious artefact such as the equestrian statue of Marcus Aurelius. On April 11, 1990, the monument returned to Capitoline Hill and was placed in the courtyard of the Capitoline Museum, in an air-conditioned room specially closed by a glass window. The recovery of the monumental unity of Michelangelo's project was a primary concern from the beginning. It was therefore decided to create a copy of the original. For a variety of reasons, it was not possible to adopt either of the two traditional techniques of direct casting or reproduction by points using a compass or pantograph. In the first case, due to the fragility of the residual gilding and its poor adhesion to the bronze made it impossible, and in the second case, the difficulty of faithfully reproducing all the details of the sculptural modelling, which had accumulated like a palimpsest over the long history of the monument, eliminated this option. In order to reproduce the bronze statue, an indirect procedure was used, involving the reconstruction of the geometric form according to a numerical model obtained by means of a 'photogrammetric' survey and the manual integration of the “skin” using artisanal techniques. In 1997, the technicians of the State Mint completed the bronze copy, which was erected on the base at the centre of the Capitoline square on April 19th of the same year. At the same time that the copy was being made, the problem of placing the original in a more suitable museum than the provisional one was undertaken, identifying a suitable location in terms of size and dignity within the Capitoline Museums, whose restructuring began in 1997. To this end, a new pavilion was planned in the Roman Garden on the first floor of the Palazzo dei Conservatori, where at the end of the 19th century, immediately after the unification of Italy, most of the sculptures emerging from the excavations carried out for the construction of the capital's new quarters had been housed. The project to cover the garden with a glass roof, entrusted to architect Carlo Aymonino, proved to be the most appropriate solution for accommodating the equestrian monument together with other important bronze works from the Capitoline collection. These are also part of the pignora imperii preserved in the Lateran since the Middle Ages and transferred to the Capitoline at the end of the 15th century with the aim of giving back tangible evidence of the ancient status of the hill to the Roman people.
The new base, designed by architect Francesco Stefanori and built, along with the devices for anchoring the statue, by the Science and Technology Centre for the Conservation of the Historic-Architectural Heritage of the University of Rome - La Sapienza (CISTeC), was conceived in discontinuity with respect to Michelangelo's pedestal, both to avoid an impractical comparison and to emphasize the difference between the original open-air location of the equestrian monument and its current museum display. It is superfluous to recall that the construction of the new pavilion, which took into account the presence of the monumental remains of the Temple of Capitoline Jupiter, not only offered a specific, definitive solution to the problem of the bronze statue of Marcus Aurelius, but represents the spearhead - comparable to other major museographic projects in European capitals - of the programme for overall redevelopment of the Capitoline Museums.
htmlText_AAB377A9_ECE8_7F47_41DA_860062529557.html =
Equestrian Statue of Marcus Aurelius


161-180 AD
The equestrian monument dedicated to the emperor Marcus Aurelius (161-180 AD) is not mentioned in the ancient literary sources, but it is likely that it was erected either in 176 AD, along with numerous other honours given to him on the occasion of his triumph over the Germanic populations, or in 180 AD, immediately after his death. At that time, there were many equestrian statues in Rome: the late imperial descriptions of the city's regions list twenty-two of them, called equi magni, i.e. greater than life, similar to the monument of Marcus Aurelius. The latter is the only one that has survived to the present day, and because of its completeness, it soon took on a symbolic value for all those who wanted to be the heirs of ancient imperial Rome. Its original location is not known. However, Carlo Fea, who first attributed the monument's salvation to the erroneous identification of the knight with Emperor Constantine, refuted the hypothesis put forward by Nardini and accepted by Winckelmann that the statue was erected from the beginning at the Lateran, where it is mentioned in medieval sources.
In reality, it can only be said that the statue was erected for a public dedication and that, therefore, its most probable original location was either the Roman Forum or the square with the dynastic temple surrounding the Column of Marcus Aurelius. The presence of the bronze sculpture in the Lateran is mentioned as early as the 10th century, but it was probably there since at least the end of the 8th century, when Charlemagne wanted to duplicate the arrangement of the campus Lateranenis, transferring a similar equestrian statue brought from Ravenna to the front of his palace in Aquisgrana (Aachen). In January 1538, by order of Pope Paul III Farnese, the statue was transferred to the Capitoline Hill, which had become the headquarters of the city authorities since 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to restore the statue of Marcus Aurelius. The great Florentine artist, instead of limiting himself to designing a suitable placement for the monument, made it the focal point of the admirable architectural complex in Piazza del Campidoglio. The investigations ordered by the City Council following the terrorist attack on the Senatorial Palace on April 19, 1979 revealed that the equestrian statue of Marcus Aurelius was suffering from serious corrosion and was in a worrying static condition, particularly because of cracks in the legs.
On January 8, 1981, the knight was removed from Michelangelo's base and on January 17, the monument was transferred to the laboratory of the Central Institute for Conservation and Restoration. The conservation work, in the absence of established ordinary procedures, allowed for great development in investigation techniques and technological innovation of the available instrumentation. After a long and careful phase of preliminary studies, aimed at defining the state of conservation and the methods of intervention used on the bronze artefact, the restoration work was completed at the end of 1988, opening a new phase in the life of the equestrian monument. The structural and superficial fragility of the material brought the issue of the protection of masterpieces not placed in museums to everyone's attention. It was immediately clear that the adequate protection of ancient bronze statues would only be possible if all of the thermal and mechanical stress resulting from outdoor exhibition were excluded. The desire to see the bronze statue in the centre of Piazza del Campidoglio was naturally unanimous, but the lesser evil was chosen.
Temporary placement in an enclosed space under controlled environmental conditions was the only choice able to adequately meeting the need to preserve and at the same time make accessible a unique and precious artefact such as the equestrian statue of Marcus Aurelius. On April 11, 1990, the monument returned to Capitoline Hill and was placed in the courtyard of the Capitoline Museum, in an air-conditioned room specially closed by a glass window. The recovery of the monumental unity of Michelangelo's project was a primary concern from the beginning. It was therefore decided to create a copy of the original. For a variety of reasons, it was not possible to adopt either of the two traditional techniques of direct casting or reproduction by points using a compass or pantograph. In the first case, due to the fragility of the residual gilding and its poor adhesion to the bronze made it impossible, and in the second case, the difficulty of faithfully reproducing all the details of the sculptural modelling, which had accumulated like a palimpsest over the long history of the monument, eliminated this option. In order to reproduce the bronze statue, an indirect procedure was used, involving the reconstruction of the geometric form according to a numerical model obtained by means of a 'photogrammetric' survey and the manual integration of the “skin” using artisanal techniques. In 1997, the technicians of the State Mint completed the bronze copy, which was erected on the base at the centre of the Capitoline square on April 19th of the same year. At the same time that the copy was being made, the problem of placing the original in a more suitable museum than the provisional one was undertaken, identifying a suitable location in terms of size and dignity within the Capitoline Museums, whose restructuring began in 1997. To this end, a new pavilion was planned in the Roman Garden on the first floor of the Palazzo dei Conservatori, where at the end of the 19th century, immediately after the unification of Italy, most of the sculptures emerging from the excavations carried out for the construction of the capital's new quarters had been housed. The project to cover the garden with a glass roof, entrusted to architect Carlo Aymonino, proved to be the most appropriate solution for accommodating the equestrian monument together with other important bronze works from the Capitoline collection. These are also part of the pignora imperii preserved in the Lateran since the Middle Ages and transferred to the Capitoline at the end of the 15th century with the aim of giving back tangible evidence of the ancient status of the hill to the Roman people.
The new base, designed by architect Francesco Stefanori and built, along with the devices for anchoring the statue, by the Science and Technology Centre for the Conservation of the Historic-Architectural Heritage of the University of Rome - La Sapienza (CISTeC), was conceived in discontinuity with respect to Michelangelo's pedestal, both to avoid an impractical comparison and to emphasize the difference between the original open-air location of the equestrian monument and its current museum display. It is superfluous to recall that the construction of the new pavilion, which took into account the presence of the monumental remains of the Temple of Capitoline Jupiter, not only offered a specific, definitive solution to the problem of the bronze statue of Marcus Aurelius, but represents the spearhead - comparable to other major museographic projects in European capitals - of the programme for overall redevelopment of the Capitoline Museums.
htmlText_ABDB6D4A_ECE8_53C5_41C8_FB06186A67EC.html =
Equestrian Statue of Marcus Aurelius


161-180 AD
The equestrian monument dedicated to the emperor Marcus Aurelius (161-180 AD) is not mentioned in the ancient literary sources, but it is likely that it was erected either in 176 AD, along with numerous other honours given to him on the occasion of his triumph over the Germanic populations, or in 180 AD, immediately after his death. At that time, there were many equestrian statues in Rome: the late imperial descriptions of the city's regions list twenty-two of them, called equi magni, i.e. greater than life, similar to the monument of Marcus Aurelius. The latter is the only one that has survived to the present day, and because of its completeness, it soon took on a symbolic value for all those who wanted to be the heirs of ancient imperial Rome. Its original location is not known. However, Carlo Fea, who first attributed the monument's salvation to the erroneous identification of the knight with Emperor Constantine, refuted the hypothesis put forward by Nardini and accepted by Winckelmann that the statue was erected from the beginning at the Lateran, where it is mentioned in medieval sources.
In reality, it can only be said that the statue was erected for a public dedication and that, therefore, its most probable original location was either the Roman Forum or the square with the dynastic temple surrounding the Column of Marcus Aurelius. The presence of the bronze sculpture in the Lateran is mentioned as early as the 10th century, but it was probably there since at least the end of the 8th century, when Charlemagne wanted to duplicate the arrangement of the campus Lateranenis, transferring a similar equestrian statue brought from Ravenna to the front of his palace in Aquisgrana (Aachen). In January 1538, by order of Pope Paul III Farnese, the statue was transferred to the Capitoline Hill, which had become the headquarters of the city authorities since 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to restore the statue of Marcus Aurelius. The great Florentine artist, instead of limiting himself to designing a suitable placement for the monument, made it the focal point of the admirable architectural complex in Piazza del Campidoglio. The investigations ordered by the City Council following the terrorist attack on the Senatorial Palace on April 19, 1979 revealed that the equestrian statue of Marcus Aurelius was suffering from serious corrosion and was in a worrying static condition, particularly because of cracks in the legs.
On January 8, 1981, the knight was removed from Michelangelo's base and on January 17, the monument was transferred to the laboratory of the Central Institute for Conservation and Restoration. The conservation work, in the absence of established ordinary procedures, allowed for great development in investigation techniques and technological innovation of the available instrumentation. After a long and careful phase of preliminary studies, aimed at defining the state of conservation and the methods of intervention used on the bronze artefact, the restoration work was completed at the end of 1988, opening a new phase in the life of the equestrian monument. The structural and superficial fragility of the material brought the issue of the protection of masterpieces not placed in museums to everyone's attention. It was immediately clear that the adequate protection of ancient bronze statues would only be possible if all of the thermal and mechanical stress resulting from outdoor exhibition were excluded. The desire to see the bronze statue in the centre of Piazza del Campidoglio was naturally unanimous, but the lesser evil was chosen.
Temporary placement in an enclosed space under controlled environmental conditions was the only choice able to adequately meeting the need to preserve and at the same time make accessible a unique and precious artefact such as the equestrian statue of Marcus Aurelius. On April 11, 1990, the monument returned to Capitoline Hill and was placed in the courtyard of the Capitoline Museum, in an air-conditioned room specially closed by a glass window. The recovery of the monumental unity of Michelangelo's project was a primary concern from the beginning. It was therefore decided to create a copy of the original. For a variety of reasons, it was not possible to adopt either of the two traditional techniques of direct casting or reproduction by points using a compass or pantograph. In the first case, due to the fragility of the residual gilding and its poor adhesion to the bronze made it impossible, and in the second case, the difficulty of faithfully reproducing all the details of the sculptural modelling, which had accumulated like a palimpsest over the long history of the monument, eliminated this option. In order to reproduce the bronze statue, an indirect procedure was used, involving the reconstruction of the geometric form according to a numerical model obtained by means of a 'photogrammetric' survey and the manual integration of the “skin” using artisanal techniques. In 1997, the technicians of the State Mint completed the bronze copy, which was erected on the base at the centre of the Capitoline square on April 19th of the same year. At the same time that the copy was being made, the problem of placing the original in a more suitable museum than the provisional one was undertaken, identifying a suitable location in terms of size and dignity within the Capitoline Museums, whose restructuring began in 1997. To this end, a new pavilion was planned in the Roman Garden on the first floor of the Palazzo dei Conservatori, where at the end of the 19th century, immediately after the unification of Italy, most of the sculptures emerging from the excavations carried out for the construction of the capital's new quarters had been housed. The project to cover the garden with a glass roof, entrusted to architect Carlo Aymonino, proved to be the most appropriate solution for accommodating the equestrian monument together with other important bronze works from the Capitoline collection. These are also part of the pignora imperii preserved in the Lateran since the Middle Ages and transferred to the Capitoline at the end of the 15th century with the aim of giving back tangible evidence of the ancient status of the hill to the Roman people.
The new base, designed by architect Francesco Stefanori and built, along with the devices for anchoring the statue, by the Science and Technology Centre for the Conservation of the Historic-Architectural Heritage of the University of Rome - La Sapienza (CISTeC), was conceived in discontinuity with respect to Michelangelo's pedestal, both to avoid an impractical comparison and to emphasize the difference between the original open-air location of the equestrian monument and its current museum display. It is superfluous to recall that the construction of the new pavilion, which took into account the presence of the monumental remains of the Temple of Capitoline Jupiter, not only offered a specific, definitive solution to the problem of the bronze statue of Marcus Aurelius, but represents the spearhead - comparable to other major museographic projects in European capitals - of the programme for overall redevelopment of the Capitoline Museums.
htmlText_ABD1CB53_ECE8_B7CB_41A3_6895AAC55022.html =
Equestrian Statue of Marcus Aurelius


161-180 AD
The equestrian monument dedicated to the emperor Marcus Aurelius (161-180 AD) is not mentioned in the ancient literary sources, but it is likely that it was erected either in 176 AD, along with numerous other honours given to him on the occasion of his triumph over the Germanic populations, or in 180 AD, immediately after his death. At that time, there were many equestrian statues in Rome: the late imperial descriptions of the city's regions list twenty-two of them, called equi magni, i.e. greater than life, similar to the monument of Marcus Aurelius. The latter is the only one that has survived to the present day, and because of its completeness, it soon took on a symbolic value for all those who wanted to be the heirs of ancient imperial Rome. Its original location is not known. However, Carlo Fea, who first attributed the monument's salvation to the erroneous identification of the knight with Emperor Constantine, refuted the hypothesis put forward by Nardini and accepted by Winckelmann that the statue was erected from the beginning at the Lateran, where it is mentioned in medieval sources.
In reality, it can only be said that the statue was erected for a public dedication and that, therefore, its most probable original location was either the Roman Forum or the square with the dynastic temple surrounding the Column of Marcus Aurelius. The presence of the bronze sculpture in the Lateran is mentioned as early as the 10th century, but it was probably there since at least the end of the 8th century, when Charlemagne wanted to duplicate the arrangement of the campus Lateranenis, transferring a similar equestrian statue brought from Ravenna to the front of his palace in Aquisgrana (Aachen). In January 1538, by order of Pope Paul III Farnese, the statue was transferred to the Capitoline Hill, which had become the headquarters of the city authorities since 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to restore the statue of Marcus Aurelius. The great Florentine artist, instead of limiting himself to designing a suitable placement for the monument, made it the focal point of the admirable architectural complex in Piazza del Campidoglio. The investigations ordered by the City Council following the terrorist attack on the Senatorial Palace on April 19, 1979 revealed that the equestrian statue of Marcus Aurelius was suffering from serious corrosion and was in a worrying static condition, particularly because of cracks in the legs.
On January 8, 1981, the knight was removed from Michelangelo's base and on January 17, the monument was transferred to the laboratory of the Central Institute for Conservation and Restoration. The conservation work, in the absence of established ordinary procedures, allowed for great development in investigation techniques and technological innovation of the available instrumentation. After a long and careful phase of preliminary studies, aimed at defining the state of conservation and the methods of intervention used on the bronze artefact, the restoration work was completed at the end of 1988, opening a new phase in the life of the equestrian monument. The structural and superficial fragility of the material brought the issue of the protection of masterpieces not placed in museums to everyone's attention. It was immediately clear that the adequate protection of ancient bronze statues would only be possible if all of the thermal and mechanical stress resulting from outdoor exhibition were excluded. The desire to see the bronze statue in the centre of Piazza del Campidoglio was naturally unanimous, but the lesser evil was chosen.
Temporary placement in an enclosed space under controlled environmental conditions was the only choice able to adequately meeting the need to preserve and at the same time make accessible a unique and precious artefact such as the equestrian statue of Marcus Aurelius. On April 11, 1990, the monument returned to Capitoline Hill and was placed in the courtyard of the Capitoline Museum, in an air-conditioned room specially closed by a glass window. The recovery of the monumental unity of Michelangelo's project was a primary concern from the beginning. It was therefore decided to create a copy of the original. For a variety of reasons, it was not possible to adopt either of the two traditional techniques of direct casting or reproduction by points using a compass or pantograph. In the first case, due to the fragility of the residual gilding and its poor adhesion to the bronze made it impossible, and in the second case, the difficulty of faithfully reproducing all the details of the sculptural modelling, which had accumulated like a palimpsest over the long history of the monument, eliminated this option. In order to reproduce the bronze statue, an indirect procedure was used, involving the reconstruction of the geometric form according to a numerical model obtained by means of a 'photogrammetric' survey and the manual integration of the “skin” using artisanal techniques. In 1997, the technicians of the State Mint completed the bronze copy, which was erected on the base at the centre of the Capitoline square on April 19th of the same year. At the same time that the copy was being made, the problem of placing the original in a more suitable museum than the provisional one was undertaken, identifying a suitable location in terms of size and dignity within the Capitoline Museums, whose restructuring began in 1997. To this end, a new pavilion was planned in the Roman Garden on the first floor of the Palazzo dei Conservatori, where at the end of the 19th century, immediately after the unification of Italy, most of the sculptures emerging from the excavations carried out for the construction of the capital's new quarters had been housed. The project to cover the garden with a glass roof, entrusted to architect Carlo Aymonino, proved to be the most appropriate solution for accommodating the equestrian monument together with other important bronze works from the Capitoline collection. These are also part of the pignora imperii preserved in the Lateran since the Middle Ages and transferred to the Capitoline at the end of the 15th century with the aim of giving back tangible evidence of the ancient status of the hill to the Roman people.
The new base, designed by architect Francesco Stefanori and built, along with the devices for anchoring the statue, by the Science and Technology Centre for the Conservation of the Historic-Architectural Heritage of the University of Rome - La Sapienza (CISTeC), was conceived in discontinuity with respect to Michelangelo's pedestal, both to avoid an impractical comparison and to emphasize the difference between the original open-air location of the equestrian monument and its current museum display. It is superfluous to recall that the construction of the new pavilion, which took into account the presence of the monumental remains of the Temple of Capitoline Jupiter, not only offered a specific, definitive solution to the problem of the bronze statue of Marcus Aurelius, but represents the spearhead - comparable to other major museographic projects in European capitals - of the programme for overall redevelopment of the Capitoline Museums.
htmlText_ABD46589_ECE8_D347_41DF_6515BA45E0B0.html =
Equestrian Statue of Marcus Aurelius


161-180 AD
The equestrian monument dedicated to the emperor Marcus Aurelius (161-180 AD) is not mentioned in the ancient literary sources, but it is likely that it was erected either in 176 AD, along with numerous other honours given to him on the occasion of his triumph over the Germanic populations, or in 180 AD, immediately after his death. At that time, there were many equestrian statues in Rome: the late imperial descriptions of the city's regions list twenty-two of them, called equi magni, i.e. greater than life, similar to the monument of Marcus Aurelius. The latter is the only one that has survived to the present day, and because of its completeness, it soon took on a symbolic value for all those who wanted to be the heirs of ancient imperial Rome. Its original location is not known. However, Carlo Fea, who first attributed the monument's salvation to the erroneous identification of the knight with Emperor Constantine, refuted the hypothesis put forward by Nardini and accepted by Winckelmann that the statue was erected from the beginning at the Lateran, where it is mentioned in medieval sources.
In reality, it can only be said that the statue was erected for a public dedication and that, therefore, its most probable original location was either the Roman Forum or the square with the dynastic temple surrounding the Column of Marcus Aurelius. The presence of the bronze sculpture in the Lateran is mentioned as early as the 10th century, but it was probably there since at least the end of the 8th century, when Charlemagne wanted to duplicate the arrangement of the campus Lateranenis, transferring a similar equestrian statue brought from Ravenna to the front of his palace in Aquisgrana (Aachen). In January 1538, by order of Pope Paul III Farnese, the statue was transferred to the Capitoline Hill, which had become the headquarters of the city authorities since 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to restore the statue of Marcus Aurelius. The great Florentine artist, instead of limiting himself to designing a suitable placement for the monument, made it the focal point of the admirable architectural complex in Piazza del Campidoglio. The investigations ordered by the City Council following the terrorist attack on the Senatorial Palace on April 19, 1979 revealed that the equestrian statue of Marcus Aurelius was suffering from serious corrosion and was in a worrying static condition, particularly because of cracks in the legs.
On January 8, 1981, the knight was removed from Michelangelo's base and on January 17, the monument was transferred to the laboratory of the Central Institute for Conservation and Restoration. The conservation work, in the absence of established ordinary procedures, allowed for great development in investigation techniques and technological innovation of the available instrumentation. After a long and careful phase of preliminary studies, aimed at defining the state of conservation and the methods of intervention used on the bronze artefact, the restoration work was completed at the end of 1988, opening a new phase in the life of the equestrian monument. The structural and superficial fragility of the material brought the issue of the protection of masterpieces not placed in museums to everyone's attention. It was immediately clear that the adequate protection of ancient bronze statues would only be possible if all of the thermal and mechanical stress resulting from outdoor exhibition were excluded. The desire to see the bronze statue in the centre of Piazza del Campidoglio was naturally unanimous, but the lesser evil was chosen.
Temporary placement in an enclosed space under controlled environmental conditions was the only choice able to adequately meeting the need to preserve and at the same time make accessible a unique and precious artefact such as the equestrian statue of Marcus Aurelius. On April 11, 1990, the monument returned to Capitoline Hill and was placed in the courtyard of the Capitoline Museum, in an air-conditioned room specially closed by a glass window. The recovery of the monumental unity of Michelangelo's project was a primary concern from the beginning. It was therefore decided to create a copy of the original. For a variety of reasons, it was not possible to adopt either of the two traditional techniques of direct casting or reproduction by points using a compass or pantograph. In the first case, due to the fragility of the residual gilding and its poor adhesion to the bronze made it impossible, and in the second case, the difficulty of faithfully reproducing all the details of the sculptural modelling, which had accumulated like a palimpsest over the long history of the monument, eliminated this option. In order to reproduce the bronze statue, an indirect procedure was used, involving the reconstruction of the geometric form according to a numerical model obtained by means of a 'photogrammetric' survey and the manual integration of the “skin” using artisanal techniques. In 1997, the technicians of the State Mint completed the bronze copy, which was erected on the base at the centre of the Capitoline square on April 19th of the same year. At the same time that the copy was being made, the problem of placing the original in a more suitable museum than the provisional one was undertaken, identifying a suitable location in terms of size and dignity within the Capitoline Museums, whose restructuring began in 1997. To this end, a new pavilion was planned in the Roman Garden on the first floor of the Palazzo dei Conservatori, where at the end of the 19th century, immediately after the unification of Italy, most of the sculptures emerging from the excavations carried out for the construction of the capital's new quarters had been housed. The project to cover the garden with a glass roof, entrusted to architect Carlo Aymonino, proved to be the most appropriate solution for accommodating the equestrian monument together with other important bronze works from the Capitoline collection. These are also part of the pignora imperii preserved in the Lateran since the Middle Ages and transferred to the Capitoline at the end of the 15th century with the aim of giving back tangible evidence of the ancient status of the hill to the Roman people.
The new base, designed by architect Francesco Stefanori and built, along with the devices for anchoring the statue, by the Science and Technology Centre for the Conservation of the Historic-Architectural Heritage of the University of Rome - La Sapienza (CISTeC), was conceived in discontinuity with respect to Michelangelo's pedestal, both to avoid an impractical comparison and to emphasize the difference between the original open-air location of the equestrian monument and its current museum display. It is superfluous to recall that the construction of the new pavilion, which took into account the presence of the monumental remains of the Temple of Capitoline Jupiter, not only offered a specific, definitive solution to the problem of the bronze statue of Marcus Aurelius, but represents the spearhead - comparable to other major museographic projects in European capitals - of the programme for overall redevelopment of the Capitoline Museums.
htmlText_5C1AA483_7053_1891_41CB_5F9DC05F27BB.html =
Equestrian Statue of Marcus Aurelius


161-180 AD
The equestrian monument dedicated to the emperor Marcus Aurelius (161-180 AD) is not mentioned in the ancient literary sources, but it is likely that it was erected either in 176 AD, along with numerous other honours given to him on the occasion of his triumph over the Germanic populations, or in 180 AD, immediately after his death. At that time, there were many equestrian statues in Rome: the late imperial descriptions of the city's regions list twenty-two of them, called equi magni, i.e. greater than life, similar to the monument of Marcus Aurelius. The latter is the only one that has survived to the present day, and because of its completeness, it soon took on a symbolic value for all those who wanted to be the heirs of ancient imperial Rome. Its original location is not known. However, Carlo Fea, who first attributed the monument's salvation to the erroneous identification of the knight with Emperor Constantine, refuted the hypothesis put forward by Nardini and accepted by Winckelmann that the statue was erected from the beginning at the Lateran, where it is mentioned in medieval sources.
In reality, it can only be said that the statue was erected for a public dedication and that, therefore, its most probable original location was either the Roman Forum or the square with the dynastic temple surrounding the Column of Marcus Aurelius. The presence of the bronze sculpture in the Lateran is mentioned as early as the 10th century, but it was probably there since at least the end of the 8th century, when Charlemagne wanted to duplicate the arrangement of the campus Lateranenis, transferring a similar equestrian statue brought from Ravenna to the front of his palace in Aquisgrana (Aachen). In January 1538, by order of Pope Paul III Farnese, the statue was transferred to the Capitoline Hill, which had become the headquarters of the city authorities since 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to restore the statue of Marcus Aurelius. The great Florentine artist, instead of limiting himself to designing a suitable placement for the monument, made it the focal point of the admirable architectural complex in Piazza del Campidoglio. The investigations ordered by the City Council following the terrorist attack on the Senatorial Palace on April 19, 1979 revealed that the equestrian statue of Marcus Aurelius was suffering from serious corrosion and was in a worrying static condition, particularly because of cracks in the legs.
On January 8, 1981, the knight was removed from Michelangelo's base and on January 17, the monument was transferred to the laboratory of the Central Institute for Conservation and Restoration. The conservation work, in the absence of established ordinary procedures, allowed for great development in investigation techniques and technological innovation of the available instrumentation. After a long and careful phase of preliminary studies, aimed at defining the state of conservation and the methods of intervention used on the bronze artefact, the restoration work was completed at the end of 1988, opening a new phase in the life of the equestrian monument. The structural and superficial fragility of the material brought the issue of the protection of masterpieces not placed in museums to everyone's attention. It was immediately clear that the adequate protection of ancient bronze statues would only be possible if all of the thermal and mechanical stress resulting from outdoor exhibition were excluded. The desire to see the bronze statue in the centre of Piazza del Campidoglio was naturally unanimous, but the lesser evil was chosen.
Temporary placement in an enclosed space under controlled environmental conditions was the only choice able to adequately meeting the need to preserve and at the same time make accessible a unique and precious artefact such as the equestrian statue of Marcus Aurelius. On April 11, 1990, the monument returned to Capitoline Hill and was placed in the courtyard of the Capitoline Museum, in an air-conditioned room specially closed by a glass window. The recovery of the monumental unity of Michelangelo's project was a primary concern from the beginning. It was therefore decided to create a copy of the original. For a variety of reasons, it was not possible to adopt either of the two traditional techniques of direct casting or reproduction by points using a compass or pantograph. In the first case, due to the fragility of the residual gilding and its poor adhesion to the bronze made it impossible, and in the second case, the difficulty of faithfully reproducing all the details of the sculptural modelling, which had accumulated like a palimpsest over the long history of the monument, eliminated this option. In order to reproduce the bronze statue, an indirect procedure was used, involving the reconstruction of the geometric form according to a numerical model obtained by means of a 'photogrammetric' survey and the manual integration of the “skin” using artisanal techniques. In 1997, the technicians of the State Mint completed the bronze copy, which was erected on the base at the centre of the Capitoline square on April 19th of the same year. At the same time that the copy was being made, the problem of placing the original in a more suitable museum than the provisional one was undertaken, identifying a suitable location in terms of size and dignity within the Capitoline Museums, whose restructuring began in 1997. To this end, a new pavilion was planned in the Roman Garden on the first floor of the Palazzo dei Conservatori, where at the end of the 19th century, immediately after the unification of Italy, most of the sculptures emerging from the excavations carried out for the construction of the capital's new quarters had been housed. The project to cover the garden with a glass roof, entrusted to architect Carlo Aymonino, proved to be the most appropriate solution for accommodating the equestrian monument together with other important bronze works from the Capitoline collection. These are also part of the pignora imperii preserved in the Lateran since the Middle Ages and transferred to the Capitoline at the end of the 15th century with the aim of giving back tangible evidence of the ancient status of the hill to the Roman people.
The new base, designed by architect Francesco Stefanori and built, along with the devices for anchoring the statue, by the Science and Technology Centre for the Conservation of the Historic-Architectural Heritage of the University of Rome - La Sapienza (CISTeC), was conceived in discontinuity with respect to Michelangelo's pedestal, both to avoid an impractical comparison and to emphasize the difference between the original open-air location of the equestrian monument and its current museum display. It is superfluous to recall that the construction of the new pavilion, which took into account the presence of the monumental remains of the Temple of Capitoline Jupiter, not only offered a specific, definitive solution to the problem of the bronze statue of Marcus Aurelius, but represents the spearhead - comparable to other major museographic projects in European capitals - of the programme for overall redevelopment of the Capitoline Museums.
htmlText_AA9F1FEF_ECEB_CEDB_41D5_B8B2D7546AB4.html =
Equestrian Statue of Marcus Aurelius


161-180 AD
The equestrian monument dedicated to the emperor Marcus Aurelius (161-180 AD) is not mentioned in the ancient literary sources, but it is likely that it was erected either in 176 AD, along with numerous other honours given to him on the occasion of his triumph over the Germanic populations, or in 180 AD, immediately after his death. At that time, there were many equestrian statues in Rome: the late imperial descriptions of the city's regions list twenty-two of them, called equi magni, i.e. greater than life, similar to the monument of Marcus Aurelius. The latter is the only one that has survived to the present day, and because of its completeness, it soon took on a symbolic value for all those who wanted to be the heirs of ancient imperial Rome. Its original location is not known. However, Carlo Fea, who first attributed the monument's salvation to the erroneous identification of the knight with Emperor Constantine, refuted the hypothesis put forward by Nardini and accepted by Winckelmann that the statue was erected from the beginning at the Lateran, where it is mentioned in medieval sources.
In reality, it can only be said that the statue was erected for a public dedication and that, therefore, its most probable original location was either the Roman Forum or the square with the dynastic temple surrounding the Column of Marcus Aurelius. The presence of the bronze sculpture in the Lateran is mentioned as early as the 10th century, but it was probably there since at least the end of the 8th century, when Charlemagne wanted to duplicate the arrangement of the campus Lateranenis, transferring a similar equestrian statue brought from Ravenna to the front of his palace in Aquisgrana (Aachen). In January 1538, by order of Pope Paul III Farnese, the statue was transferred to the Capitoline Hill, which had become the headquarters of the city authorities since 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to restore the statue of Marcus Aurelius. The great Florentine artist, instead of limiting himself to designing a suitable placement for the monument, made it the focal point of the admirable architectural complex in Piazza del Campidoglio. The investigations ordered by the City Council following the terrorist attack on the Senatorial Palace on April 19, 1979 revealed that the equestrian statue of Marcus Aurelius was suffering from serious corrosion and was in a worrying static condition, particularly because of cracks in the legs.
On January 8, 1981, the knight was removed from Michelangelo's base and on January 17, the monument was transferred to the laboratory of the Central Institute for Conservation and Restoration. The conservation work, in the absence of established ordinary procedures, allowed for great development in investigation techniques and technological innovation of the available instrumentation. After a long and careful phase of preliminary studies, aimed at defining the state of conservation and the methods of intervention used on the bronze artefact, the restoration work was completed at the end of 1988, opening a new phase in the life of the equestrian monument. The structural and superficial fragility of the material brought the issue of the protection of masterpieces not placed in museums to everyone's attention. It was immediately clear that the adequate protection of ancient bronze statues would only be possible if all of the thermal and mechanical stress resulting from outdoor exhibition were excluded. The desire to see the bronze statue in the centre of Piazza del Campidoglio was naturally unanimous, but the lesser evil was chosen.
Temporary placement in an enclosed space under controlled environmental conditions was the only choice able to adequately meeting the need to preserve and at the same time make accessible a unique and precious artefact such as the equestrian statue of Marcus Aurelius. On April 11, 1990, the monument returned to Capitoline Hill and was placed in the courtyard of the Capitoline Museum, in an air-conditioned room specially closed by a glass window. The recovery of the monumental unity of Michelangelo's project was a primary concern from the beginning. It was therefore decided to create a copy of the original. For a variety of reasons, it was not possible to adopt either of the two traditional techniques of direct casting or reproduction by points using a compass or pantograph. In the first case, due to the fragility of the residual gilding and its poor adhesion to the bronze made it impossible, and in the second case, the difficulty of faithfully reproducing all the details of the sculptural modelling, which had accumulated like a palimpsest over the long history of the monument, eliminated this option. In order to reproduce the bronze statue, an indirect procedure was used, involving the reconstruction of the geometric form according to a numerical model obtained by means of a 'photogrammetric' survey and the manual integration of the “skin” using artisanal techniques. In 1997, the technicians of the State Mint completed the bronze copy, which was erected on the base at the centre of the Capitoline square on April 19th of the same year. At the same time that the copy was being made, the problem of placing the original in a more suitable museum than the provisional one was undertaken, identifying a suitable location in terms of size and dignity within the Capitoline Museums, whose restructuring began in 1997. To this end, a new pavilion was planned in the Roman Garden on the first floor of the Palazzo dei Conservatori, where at the end of the 19th century, immediately after the unification of Italy, most of the sculptures emerging from the excavations carried out for the construction of the capital's new quarters had been housed. The project to cover the garden with a glass roof, entrusted to architect Carlo Aymonino, proved to be the most appropriate solution for accommodating the equestrian monument together with other important bronze works from the Capitoline collection. These are also part of the pignora imperii preserved in the Lateran since the Middle Ages and transferred to the Capitoline at the end of the 15th century with the aim of giving back tangible evidence of the ancient status of the hill to the Roman people.
The new base, designed by architect Francesco Stefanori and built, along with the devices for anchoring the statue, by the Science and Technology Centre for the Conservation of the Historic-Architectural Heritage of the University of Rome - La Sapienza (CISTeC), was conceived in discontinuity with respect to Michelangelo's pedestal, both to avoid an impractical comparison and to emphasize the difference between the original open-air location of the equestrian monument and its current museum display. It is superfluous to recall that the construction of the new pavilion, which took into account the presence of the monumental remains of the Temple of Capitoline Jupiter, not only offered a specific, definitive solution to the problem of the bronze statue of Marcus Aurelius, but represents the spearhead - comparable to other major museographic projects in European capitals - of the programme for overall redevelopment of the Capitoline Museums.
htmlText_5C843573_DC21_2CB5_41E2_979FEA81376C.html =
Equestrian Statue of Marcus Aurelius


161-180 AD
The equestrian monument dedicated to the emperor Marcus Aurelius (161-180 AD) is not mentioned in the ancient literary sources, but it is likely that it was erected either in 176 AD, along with numerous other honours given to him on the occasion of his triumph over the Germanic populations, or in 180 AD, immediately after his death. At that time, there were many equestrian statues in Rome: the late imperial descriptions of the city's regions list twenty-two of them, called equi magni, i.e. greater than life, similar to the monument of Marcus Aurelius. The latter is the only one that has survived to the present day, and because of its completeness, it soon took on a symbolic value for all those who wanted to be the heirs of ancient imperial Rome. Its original location is not known. However, Carlo Fea, who first attributed the monument's salvation to the erroneous identification of the knight with Emperor Constantine, refuted the hypothesis put forward by Nardini and accepted by Winckelmann that the statue was erected from the beginning at the Lateran, where it is mentioned in medieval sources.
In reality, it can only be said that the statue was erected for a public dedication and that, therefore, its most probable original location was either the Roman Forum or the square with the dynastic temple surrounding the Column of Marcus Aurelius. The presence of the bronze sculpture in the Lateran is mentioned as early as the 10th century, but it was probably there since at least the end of the 8th century, when Charlemagne wanted to duplicate the arrangement of the campus Lateranenis, transferring a similar equestrian statue brought from Ravenna to the front of his palace in Aquisgrana (Aachen). In January 1538, by order of Pope Paul III Farnese, the statue was transferred to the Capitoline Hill, which had become the headquarters of the city authorities since 1143. A year after its arrival, the Roman Senate commissioned Michelangelo to restore the statue of Marcus Aurelius. The great Florentine artist, instead of limiting himself to designing a suitable placement for the monument, made it the focal point of the admirable architectural complex in Piazza del Campidoglio. The investigations ordered by the City Council following the terrorist attack on the Senatorial Palace on April 19, 1979 revealed that the equestrian statue of Marcus Aurelius was suffering from serious corrosion and was in a worrying static condition, particularly because of cracks in the legs.
On January 8, 1981, the knight was removed from Michelangelo's base and on January 17, the monument was transferred to the laboratory of the Central Institute for Conservation and Restoration. The conservation work, in the absence of established ordinary procedures, allowed for great development in investigation techniques and technological innovation of the available instrumentation. After a long and careful phase of preliminary studies, aimed at defining the state of conservation and the methods of intervention used on the bronze artefact, the restoration work was completed at the end of 1988, opening a new phase in the life of the equestrian monument. The structural and superficial fragility of the material brought the issue of the protection of masterpieces not placed in museums to everyone's attention. It was immediately clear that the adequate protection of ancient bronze statues would only be possible if all of the thermal and mechanical stress resulting from outdoor exhibition were excluded. The desire to see the bronze statue in the centre of Piazza del Campidoglio was naturally unanimous, but the lesser evil was chosen.
Temporary placement in an enclosed space under controlled environmental conditions was the only choice able to adequately meeting the need to preserve and at the same time make accessible a unique and precious artefact such as the equestrian statue of Marcus Aurelius. On April 11, 1990, the monument returned to Capitoline Hill and was placed in the courtyard of the Capitoline Museum, in an air-conditioned room specially closed by a glass window. The recovery of the monumental unity of Michelangelo's project was a primary concern from the beginning. It was therefore decided to create a copy of the original. For a variety of reasons, it was not possible to adopt either of the two traditional techniques of direct casting or reproduction by points using a compass or pantograph. In the first case, due to the fragility of the residual gilding and its poor adhesion to the bronze made it impossible, and in the second case, the difficulty of faithfully reproducing all the details of the sculptural modelling, which had accumulated like a palimpsest over the long history of the monument, eliminated this option. In order to reproduce the bronze statue, an indirect procedure was used, involving the reconstruction of the geometric form according to a numerical model obtained by means of a 'photogrammetric' survey and the manual integration of the “skin” using artisanal techniques. In 1997, the technicians of the State Mint completed the bronze copy, which was erected on the base at the centre of the Capitoline square on April 19th of the same year. At the same time that the copy was being made, the problem of placing the original in a more suitable museum than the provisional one was undertaken, identifying a suitable location in terms of size and dignity within the Capitoline Museums, whose restructuring began in 1997. To this end, a new pavilion was planned in the Roman Garden on the first floor of the Palazzo dei Conservatori, where at the end of the 19th century, immediately after the unification of Italy, most of the sculptures emerging from the excavations carried out for the construction of the capital's new quarters had been housed. The project to cover the garden with a glass roof, entrusted to architect Carlo Aymonino, proved to be the most appropriate solution for accommodating the equestrian monument together with other important bronze works from the Capitoline collection. These are also part of the pignora imperii preserved in the Lateran since the Middle Ages and transferred to the Capitoline at the end of the 15th century with the aim of giving back tangible evidence of the ancient status of the hill to the Roman people.
The new base, designed by architect Francesco Stefanori and built, along with the devices for anchoring the statue, by the Science and Technology Centre for the Conservation of the Historic-Architectural Heritage of the University of Rome - La Sapienza (CISTeC), was conceived in discontinuity with respect to Michelangelo's pedestal, both to avoid an impractical comparison and to emphasize the difference between the original open-air location of the equestrian monument and its current museum display. It is superfluous to recall that the construction of the new pavilion, which took into account the presence of the monumental remains of the Temple of Capitoline Jupiter, not only offered a specific, definitive solution to the problem of the bronze statue of Marcus Aurelius, but represents the spearhead - comparable to other major museographic projects in European capitals - of the programme for overall redevelopment of the Capitoline Museums.
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Escape into Egypt


Ippolito Scarsellino


ca. 1585
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Escape into Egypt


Ippolito Scarsellino


ca. 1585
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Fountain in the form of a Rhyton


Late 1st century BC - early 1st century AD
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Fountain in the form of a Rhyton


Late 1st century BC - early 1st century AD
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Fragments of terracotta belonging to the decoration of the pediment of a temple, found in Via di San Gregorio


mid 2nd century BC
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Fragments of terracotta belonging to the decoration of the pediment of a temple, found in Via di San Gregorio


mid 2nd century BC
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Fragments of terracotta belonging to the decoration of the pediment of a temple, found in Via di San Gregorio


mid 2nd century BC
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Fragments of the entablature from the Temple of Concordia


1st century AD
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Fragments of the entablature from the Temple of Concordia


1st century AD
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Fragments of the entablature from the Temple of Concordia


1st century AD
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Fragments of the entablature from the Temple of Concordia


1st century AD
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Fresco of Madonna and Child


late 15th - early 16th century
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Frieze with Campidoglio square


Mid 16th century
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Frieze with the Capitoline square towards the Aracoeli


First half of the 16th century
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Group with Commodus as Hercules flanked by two Tritons


180-193 AD
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Group with Commodus as Hercules flanked by two Tritons


180-193 AD
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Group with Commodus as Hercules flanked by two Tritons


180-193 AD
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Hall of Hannibal


The room, dedicated to the narration of episodes from Rome's wars against its rival Carthage, takes its name from the image of Hannibal on the central wall, a depiction of a naive and partly fictional character.
The room is the only one of the 15th century nucleus of the apartment that has survived without major changes or subsequent interventions.
The frescoes on the walls, conventionally attributed to Jacopo Ripanda (a Bolognese painter documented between 1485 and 1516), represent the most complete testimony of the first decorative cycle of the Palace, carried out in the first decade of the 1500s and which also involved the other rooms of the Apartment.
The historical scenes are framed by corner pilasters with grotesque candelabra on a gilded background, At the base, a frieze with busts of Roman generals and grotesque decoration has large gaps due to the insertion of epigraphs that were later removed.
The study of ancient art had a particular influence on the painters who worked on this cycle of frescoes, as can be seen in the scene of a naval battle with figurative sketches taken from Trajan's Column or in the refined design of the grotesques in the decoration.
In the central panel of the wooden ceiling, the oldest in the Palace painted from 1516-1519, the She-wolf suckling her twins appears for the first time, used as a decorative element and as symbolic reference to the origins of the city.
htmlText_B78045CA_846D_ED8A_41E0_6CC3BAC240A1.html =
Hall of Hannibal


The room, dedicated to the narration of episodes from Rome's wars against its rival Carthage, takes its name from the image of Hannibal on the central wall, a depiction of a naive and partly fictional character.
The room is the only one of the 15th century nucleus of the apartment that has survived without major changes or subsequent interventions.
The frescoes on the walls, conventionally attributed to Jacopo Ripanda (a Bolognese painter documented between 1485 and 1516), represent the most complete testimony of the first decorative cycle of the Palace, carried out in the first decade of the 1500s and which also involved the other rooms of the Apartment.
The historical scenes are framed by corner pilasters with grotesque candelabra on a gilded background, At the base, a frieze with busts of Roman generals and grotesque decoration has large gaps due to the insertion of epigraphs that were later removed.
The study of ancient art had a particular influence on the painters who worked on this cycle of frescoes, as can be seen in the scene of a naval battle with figurative sketches taken from Trajan's Column or in the refined design of the grotesques in the decoration.
In the central panel of the wooden ceiling, the oldest in the Palace painted from 1516-1519, the She-wolf suckling her twins appears for the first time, used as a decorative element and as symbolic reference to the origins of the city.
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Hall of Tapestries


The Hall of the Tapestries is also known as the Throne Room because the throne of the pontiff, as sovereign of the city, was placed here in the 18th century.
In the second half of the 18th century, the precious tapestries that adorn the walls were made by the Roman San Michele Manufacture. The series of tapestries features important paintings of Roman subjects together with busts of emperors and trophies of arms.
The painter, Domenico Corvi (1721-1803), made sketches that are now stored in the Capitoline Art Gallery.
Every detail of the room was decorated, from the faux-marble plinth to the exquisite doors and painted shutters. Rich gilded wooden consoles were also installed.
The room retains the appearance it had in the 16th century following works carried out in the Appartamento dei Conservatori under Pope Paul III Farnese (1534-1549).
In 1544, the fresco frieze was completed, with panels depicting scenes from the life of Scipio Africanus alternating with monochrome reproductions of famous ancient sculptures, including Laocoon, Apollo of Belvedere and a gilded bronze Hercules.
During the same years, the hexagonal coffered ceiling was created with rich gilded carvings and parade arms, fully restored to its original magnificence by the recent restoration work
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Hall of the Middle Ages


The Hall of the sixteenth century Capitoline Archive in the Palazzo dei Conservatori houses the new Hall of the Middle Ages of the Capitoline Museums, with a striking exhibition of the honorary monument of Charles I of Anjou. In the room there are also other works that help to illustrate the history of the Capitoline in the Middle Ages.
The statue of Charles I of Anjou, attributed to the Tuscan sculptor and architect Arnolfo di Cambio and made from a fragment of the entablature of an ancient building, was part of a more complex architecture. It was conceived as a high relief and originally painted with bright colours and decorated with gilding; the statue was anchored to the wall about two meters off the ground, framed by a three-foiled cusped arch flanked by two figures in relief representing two Trumpeters.
The honorary monument was dedicated, around the years 1275-1277, to the Angevin king of Sicily and Senator of Rome, and perhaps was intended to be placed inside the medieval great hall on the first floor of Palazzo Senatorio (the present Hall of Julius Caesar), where the senator, or his vicar, administered civil and criminal justice.
In the room there are also other works that help to illustrate the history of the Capitoline in the Middle Ages.
The units of measurement for oil, wine and grains (called Congi) of the thirteenth century document the presence of an important market area on the Capitoline between the ancient Palazzo Senatorio and the church and convent of Santa Maria in Aracoeli.
The cosmatesque ornament, which comes from the dismembered pulpit of the Epistle of the church of Santa Maria in Aracoeli, and was designed by Lorenzo di Tebaldo with his son Jacopo, illustrates the tradition of Roman marble workers from the late twelfth and early thirteenth century.
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Hannibal in Italy


Attributed to Jacopo Ripanda


Beginning of the 16th century
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Hannibal in Italy


Attributed to Jacopo Ripanda


Beginning of the 16th century
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Head of a Centaur


Tiberian Age (14-37 AD)
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Head of a Centaur


Tiberian Age (14-37 AD)
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Head of a Centaur


Tiberian Age (14-37 AD)
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Herm of Euripides


Roman copy of a Greek original dating from the mid-4th century BC
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Herm of Euripides


Roman copy of a Greek original dating from the mid-4th century BC
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Herm of Pythagoras


Roman copy of a Greek original from around the mid-5th century BC
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Herm of Pythagoras


Roman copy of a Greek original from around the mid-5th century BC
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Herm of Socrates


Roman copy of a Greek original dating from the second half of the 4th century BC
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Herm of Socrates


Roman copy of a Greek original dating from the second half of the 4th century BC
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Herminia among the Shepherds


Giovanni Lanfranco


ca. 1633-1637
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Herminia among the Shepherds


Giovanni Lanfranco


ca. 1633-1637
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Holy Family with Saint Jerome


Garofalo
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Holy Family with Saint Jerome


Garofalo
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Holy Family


Dosso Dossi


ca. 1528
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Holy Family


Dosso Dossi


ca. 1528
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Holy Family


Pompeo Batoni


ca. 1755
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Inlaid panel of coloured marble with a tiger attacking a calf


4th century AD
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Joseph sold by his brothers


Giovanni Maria Bottalla


1636-1642
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Joseph sold by his brothers


Giovanni Maria Bottalla


1636-1642
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Joseph sold by his brothers


Giovanni Maria Bottalla


1636-1642
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Justice of Brutus


Tommaso Laureti


1587-1594
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Lazarus and the Rich Man


Carlo Saraceni


1606-1610
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Lazarus and the Rich Man


Carlo Saraceni


1606-1610
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Madonna and Child in Glory


Garofalo


ca. 1530
htmlText_9D2D3A1A_F618_CAEF_41EE_B2BAAE81D525.html =
Madonna and Child in Glory


Garofalo


ca. 1530
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Madonna and Child with Angels


Andrea d'Assisi


15th century
htmlText_474E03DB_71D7_18B1_41DA_F729277E7456.html =
Madonna and Child with Angels


Giovanni Antonio Sogliani


ca. 1510
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Madonna and Child with Angels


Giovanni Antonio Sogliani


ca. 1510
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Madonna and Child with Angels


Pietro da Cortona


ca. 1627
htmlText_AB1F0442_EC18_51C5_4167_646990BEF70D.html =
Madonna and Child with Angels


Pietro da Cortona


ca. 1627
htmlText_4C0DC683_71B3_1891_41AE_ABDF3483D935.html =
Madonna and Child with Angels


Pietro da Cortona


ca. 1627
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Madonna and Child with Saints


Agostino Marti


1513
htmlText_9D1C0D91_F668_49FD_41CE_FD7FB9D24F3D.html =
Madonna and Child with Saints


Agostino Marti


1513
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Madonna and Child


Garofalo


ca. 1512-1513
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Madonna and Child


Garofalo


ca. 1512-1513
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Madonna


Bartolomeo Bulgarini


1350
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Maiden with a crown


Guido Reni


1640-1642
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Maiden with a crown


Guido Reni


1640-1642
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Maiden with a crown


Guido Reni


1640-1642
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Materials from the so-called Castellani Tomb in Palestrina


Second half of the 8th century - 6th century BC
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Mosaic with doves drinking


Roman copy of a Hellenistic original from the 2nd century BC
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Mosaic with doves drinking


Roman copy of a Hellenistic original from the 2nd century BC
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Mosaic with theatrical masks


Roman copy of a Hellenistic original from the middle of the 2nd century BC
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Mosaic with theatrical masks


Roman copy of a Hellenistic original from the middle of the 2nd century BC
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Moses makes water flow from the rock


Francois Perrier


ca. 1642
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Moses makes water flow from the rock


François Perrier


ca. 1642
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Muzio Scevola and Porsenna


Tommaso Laureti


1587-1594
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Mystic Marriage of Saint Catherine


Denis Calvaert


1590
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Mystic Marriage of Saint Catherine


Denis Calvaert


1590
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Mystic Marriage of Saint Catherine


Denis Calvaert


1590
htmlText_43A11BAB_3416_04DA_41C4_376C481A7D94.html =
Mystic Marriage of Saint Catherine


Pietro Faccini


ca. 1595
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Mystic Marriage of Saint Catherine


Pietro Faccini


ca. 1595
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Nativity


Ludovico Mazzolino


ca. 1512
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Nativity


Ludovico Mazzolino


ca. 1512
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Night clock


Tommaso Campani - Francesco Trevisani


1680-1690



htmlText_B2FCC3D4_8AEB_2009_41C6_23B33E28181A.html =
Night clock


Tommaso Campani - Francesco Trevisani


1680-1690



htmlText_D02331F0_EC18_B2C5_41DA_07F1E40A46A1.html =
Numa Pompilius establishes the cult of the Vestal Virgins


Cavalier D'Arpino


1636-1638
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Numa Pompilius establishes the cult of the Vestal Virgins


Cavalier D'Arpino


1636-1638
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Numa Pompilius establishes the cult of the Vestal Virgins


Cavalier D'Arpino


1636-1638
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Orazio Coclite defends the Ponte Sublicius


Tommaso Laureti


1587-1594
htmlText_EFFE1546_DCEF_6CDF_41E9_F521CF7FFD47.html =
Overlooking the Roman Forum from the upper gallery of the Tabularium
htmlText_E8F8B4D4_DCE3_2DF3_41E6_4F22F12AB2CF.html =
Overlooking the Roman Forum from the upper gallery of the Tabularium
htmlText_AFB96407_EC18_B14B_41E7_6BF9C19F35C2.html =
Peace negotiations between Lutatius Catulus and Hamilcar or Attilius Regulus


Attributed to Jacopo Ripanda


Beginning of the 16th century
htmlText_BCA00DF5_859E_DD9E_41BE_31DEAA260120.html =
Peace negotiations between Lutatius Catulus and Hamilcar or Attilius Regulus


Attributed to Jacopo Ripanda

Beginning of the 16th century
htmlText_4913A472_71D1_1873_4173_9144F3C57C05.html =
Penitent Magdalene


Domenico Tintoretto


1598-1602
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Penitent Magdalene


Domenico Tintoretto


1598-1602
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Penitent Magdalene


Domenico Tintoretto


1598-1602
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Portrait of Agrippina the Elder


Age of Caligula (37-41 AD)
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Portrait of Cardinal Silvio Valenti Gonzaga


Pierre Subleyras


ca. 1740-1741
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Portrait of Cicero


Augustan Age (27 BC-14 AD)
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Portrait of Cicero


Augustan Age (27 BC-14 AD)
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Portrait of Homer


Roman copy of a Hellenistic original from the 2nd century BC
htmlText_53396773_753A_DD1D_41D2_053B96C288BB.html =
Portrait of Homer


Roman copy of a Hellenistic original from the 2nd century BC
htmlText_94268D61_8A66_6646_41E0_31133244A380.html =
Portrait of Juan de Còrdoba


Diego Rodriguez de Silva y Velázquez


ca. 1649
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Portrait of Juan de Còrdoba


Diego Rodriguez de Silva y Velázquez


ca. 1649
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Portrait of Juan de Còrdoba


Diego Rodriguez de Silva y Velázquez


ca. 1649
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Portrait of Juan de Còrdoba


Diego Rodriguez de Silva y Velázquez


ca. 1649
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Portrait of Livia


Tiberian Age 14-37 AD
htmlText_9BA35BF6_DC23_5BBF_41C4_9F207862BF02.html =
Portrait of Octavian


ca. 40 BC
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Portrait of Pope Urban VIII


Pietro da Cortona


1627
htmlText_5C819F95_0A85_49F0_41A0_EDFE95C8C5AB.html =
Portrait of Pope Urban VIII


Pietro da Cortona


1627
htmlText_4CAD1C93_71AF_08B1_41AF_F0893437D34C.html =
Portrait of Pope Urban VIII


Pietro da Cortona


1627
htmlText_4DA6DE9E_71F3_08B3_41D4_FF99C3D5BCB4.html =
Portrait of a Crossbowman


Lorenzo Lotto


1551
htmlText_9D50140E_F628_5EE7_41EC_4475CC54DF4B.html =
Portrait of a Crossbowman


Lorenzo Lotto


1551
htmlText_9D0321E3_F618_D95D_41E4_C4FF3B2BF36C.html =
Portrait of a Crossbowman


Lorenzo Lotto


1551
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Portrait of a woman on a modern alabaster bust


160-180 AD
htmlText_9D0341E1_F618_D95D_41E5_5DA92D6BE9D4.html =
Portrait of a woman


Giovanni Girolamo Savoldo


ca. 1526
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Portrait of a woman


Giovanni Girolamo Savoldo


ca. 1526
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Portrait of a woman


Giovanni Girolamo Savoldo


ca. 1526
htmlText_48F9402D_71D1_1791_41B8_F379161FE9E4.html =
Rape of Europe


Veronese


ca. 1560
htmlText_9D50241A_F628_5EEF_41EC_FCA860920A02.html =
Rape of Europe


Veronese


ca. 1560
htmlText_9D0351E8_F618_D92B_419F_8B35AA959EBA.html =
Rape of Europe


Veronese


ca. 1560
htmlText_AB1F2444_EC18_51CD_41D6_85457DF5B5F3.html =
Rape of the Sabine Women


Pietro da Cortona


ca. 1630
htmlText_7708D5AC_F628_392B_41EC_BF334455FE5E.html =
Rape of the Sabine Women


Pietro da Cortona


ca. 1630
htmlText_4EF5E300_71B1_398F_41DA_2F75EDEE9C7A.html =
Rape of the Sabine Women


Pietro da Cortona


ca. 1630
htmlText_55CD303D_7053_17F1_41C8_3BB0A68E9E4E.html =
Reconstruction of a silver cista from the so-called Castellani Tomb in Palestrina


Last thirty years of the 8th century BC
htmlText_40761560_71D7_7990_41B2_4D2745D74310.html =
Relief showing the apotheosis of Sabina from the Arch of Portugal


2nd century AD
htmlText_D0EC795F_EC19_D3FB_41D3_7E2F51E01DDA.html =
Relief with a scene of sacrifice to Jupiter Capitoline from an honorary monument to Marcus Aurelius


176-180 AD
htmlText_6826A778_70B7_387F_41B8_6561B554E64A.html =
Relief with a scene of triumph from an honorary monument to Marcus Aurelius


176-180 AD
htmlText_D0EDA95D_EC19_D3FF_41EC_C67A88F77EB0.html =
Relief with a scene of triumph from an honorary monument to Marcus Aurelius


176-180 AD
htmlText_66E7B9F4_70B1_0877_41D0_36F777A01D11.html =
Relief with a scene of triumph from an honorary monument to Marcus Aurelius


176-180 AD
htmlText_FC32DE2F_EC68_B15B_41BC_7D2BA53FCD10.html =
Reliefs with personifications of the Provinces and trophies of arms from the temple of Hadrian and Piazza di Pietra


145 AD
htmlText_62856234_7051_1BF7_41BE_3A5782D7B8DD.html =
Reliefs with personifications of the Provinces and trophies of arms from the temple of Hadrian and Piazza di Pietra


145 AD
htmlText_EF670726_DC23_EC5F_41D3_47F3952D3066.html =
Remains of the Temple of Vejove


The Temple of Vejove was only brought to light in 1939, during the excavation under the Piazza del Campidoglio for the creation of the Lapidary Gallery.
The structures of the Senatorial Palace were superimposed on it as well as on the nearby Tabularium, in this case almost completely hiding the Roman building and thus helping to preserve it from destruction.
Based on the indications of ancient sources and the discovery in the area of the cella of the marble cult statue, it was possible to identify the deity to whom the temple was dedicated: the god Vejove, the juvenile and inferior counterpart of Jupiter of ancient Italic origin.
Latin authors define its position as “inter duos lucos”, i.e. between the two sacred woods located on the two heights of the Capitoline Hill. In the same area, the Asylum was located, where according to tradition, Romulus had given hospitality to fugitives from other sites in Latium to populate the new city he had founded.
Consecrated in 196 BC by the consul Lucius Furius Purpurion at the Battle of Cremona during the war against the Boii Gauls, the temple was then dedicated in 192 BC by Quintus Marcius Ralla.
A characteristic of the building, shared by a few other Roman temples and probably determined by the narrowness of the area, is the cella with a transversally elongated plan, whose width is almost twice the size of its depth (15 x 8.90 meters).
The high podium of the temple has an inner core of concrete covered with travertine on the outside.
The façade, aligned with the road leading up from the Clivus Capitolinus, has a pronaos with four columns at the centre, preceded by a flight of steps.
Three construction phases have been identified, the last of which can be dated to the first quarter of the 1st century BC and is connected to the construction of the Tabularium.
The temple was later restored by the Emperor Domitian in the 1st century AD, with the addition of brick pillars and the covering of the floor and walls of the cella in coloured marble.
The area surrounding the building was paved with travertine slabs.


htmlText_AB01116A_EC28_53C5_41CF_CD5FA3F68A2D.html =
Remains of the Temple of Vejove


Inizi II secolo a.C.
htmlText_30F17D4B_71B1_0991_41B0_17E24FA8A4AE.html =
Romulus and Remus


Peter Paul Rubens


ca. 1612
htmlText_A5BB5BF2_0D8A_C930_41A2_BB8569A911E5.html =
Romulus and Remus


Peter Paul Rubens


ca. 1612
htmlText_C47AFD16_85AD_629A_41C2_4381DD13C5E6.html =
Romulus and Remus


San Michele Manufacture
18th century
htmlText_301527CD_7053_7891_41D9_43F7B43D01D8.html =
Saint Barbara


Bottega di Domenichino


ca. 1630
htmlText_9AE6FD9A_F638_49EF_41C2_9BFB74226D45.html =
Saint Barbara


Domenichino's workshop


ca.1630
htmlText_9D1E3D8B_F668_49ED_41EA_0ECE84FF5951.html =
Saint Bartholomew


Bartolomeo Bulgarini


1350
htmlText_43E8E656_71DE_FBB3_41C3_1FFB2A9D95A1.html =
Saint Bartholomew


Bartolomeo Bulgarini


1350
htmlText_9D02739E_F628_F9E7_41E6_ABD84F793405.html =
Saint Cecilia


Giovanni Francesco Romanelli


1640
htmlText_4C602D3B_71D7_09F1_41CE_C90D31150417.html =
Saint Cecilia


Giovanni Francesco Romanelli


1640
htmlText_B8CC35AF_F6F8_3925_41ED_8303246993B8.html =
Saint Francis worshipping the Cross


Annibale Carracci


ca. 1585
htmlText_BB553DEA_3472_3C5A_41A4_EAAED4663AD4.html =
Saint Francis worshipping the Cross


Annibale Carracci


ca. 1585
htmlText_BB7A8978_3472_0446_41C6_19D05939AB68.html =
Saint Francis worshipping the Cross


Annibale Carracci


ca. 1585
htmlText_BB56DDE8_3472_3C46_41C6_00E667ECE6D0.html =
Saint Francis worshipping the Cross


Ludovico Carracci


ca. 1583
htmlText_BB75A976_3472_044A_41BE_3EAF83A5F935.html =
Saint Francis worshipping the Cross


Ludovico Carracci


ca. 1583
htmlText_4E7FF5A9_7057_1891_41B2_182EEDE7828E.html =
Saint Francis worshipping the Cross


Ludovico Carracci


ca. 1583
htmlText_464C3DFD_71F1_0871_41C6_D76AF902AE47.html =
Saint Nicholas of Bari


Ortolano


ca. 1513-1515
htmlText_9D2DCA14_F618_CAFB_41D7_6D4DCE40AD0A.html =
Saint Nicholas of Bari


Ortolano


ca. 1513-1515
htmlText_AFEBF589_8465_E276_41DB_14EA5B24D0FE.html =
Saint Peter's Hall


One of the most interesting rooms in Clementino Palace is the Hall of the Frescoes, whose decoration extended over all the wall surfaces, as evidenced by the large fragments that have been found. In this room, a complex architectural composition of columns and cornices framed scenes painted in fresco with large-scale sacred subjects, such as the Miracle of Saint Peter, or smaller depictions of landscapes in the overlays.
The rich wooden doors of the halls are remarkable, the restoration of which has brought to light the beauty of the carvings and gilding. These valuable artefacts were not made for these rooms but adapted to the doorways with modifications and visible cut marks.
htmlText_84260C77_F638_CF25_41D6_7D332112EC32.html =
Saint Sebastian


Guido Reni


1615-1616
htmlText_8F0C5DD1_F638_497D_41E4_B35F9402440D.html =
Saint Sebastian


Guido Reni


1615-1616
htmlText_4E604962_7051_0993_41B9_2B378B763BCA.html =
Saint Sebastian


Guido Reni


1615-1616
htmlText_9D2DAA15_F618_CAE5_41E3_2FB0EF5B99F9.html =
Saint Sebastian


Ortolano


ca. 1513-1515
htmlText_4A5EEDA0_71F7_088F_41AC_1AFF81C7A4BA.html =
Saint Sebastian


Ortolano


ca. 1513-1515
htmlText_A9DA30D3_847A_E39A_41DD_B090E9FE386B.html =
Santarelli Collection


The museum display of the glyptic collection of the Dino and Ernesta Santarelli Foundation, promoted by the Municipality of Rome, Department of Cultural Policies and Communication - Superintendency of Cultural Heritage, represents the final stage of a vast project inaugurated in 2010 with the presentation of the Santarelli Foundation at Capitoline Hill and the ten-year loan of the collection to the Capitoline Museums.
The desire to make the collection public, put forth by Ernesta D'Orazio along with her husband Dino Santarelli, seconded by their children and registered by the Foundation, through the purchase of private collections and findings on the antiques market over the last twenty years, has gone hand in hand with the intention of providing comprehensive scientific documentation.
Engraved gems have always fascinated collectors, connoisseurs and art history scholars: used as seals, they were widespread in many cultures, united by their nature as miniaturized, valuable artefacts.
They were therefore appreciated both for aesthetic reasons and for the information that could be gleaned about the art, material culture and history of the civilizations that produced them.
As direct expressions of the individual or public authority, the gems could concentrate profound meaning into small expressive spaces.
Moreover, the handling of the stones (and therefore the ease with which they could be transported) helped to spread iconographic models. This is why they were one of the most effective means by which European civilization took its steps towards rediscovering the ancient world: from the Renaissance onwards, in Italy as in the rest of Europe, master engravers copied and were inspired by the works of their ancient predecessors.
In princely courts, as well as among noble families, often competing with each other, collections of glyptics and numismatics began to form: a historical passion, but also already a status symbol. The collections of the Medici, the Orsini and the Farnese bear splendid testimony to this fact.
The study of archival papers and correspondence brings back to life a lively world of trade, exchange and advice on glyptics, which increasingly required the help of scholars.
With the evolution of historical sciences and the refinement of the archaeological method, glyptic studies also progressed and achieved considerable results.



htmlText_C06C4FED_85AA_DD8E_41DB_F354B351B5E6.html =
Seated personification of Rome


San Michele Manufacture


18th century
htmlText_12E5D1BF_7051_18F1_41CA_9DCCEA02D928.html =
Sepulchral altar of an archivist of the Land Registry Office


First half of the 2nd century AD
htmlText_15239C4C_7077_0F97_41DA_32F824D8F6DD.html =
Slab with two pairs of feet in relief and an inscription with a dedication to the goddess Caelestis


3rd century AD
htmlText_AF6E2DE1_0D85_4950_41A2_AEF619F074C9.html =
Slab with two pairs of feet in relief and an inscription with a dedication to the goddess Caelestis


3rd century AD
htmlText_ABD82D4F_ECE8_53DB_41CD_C1BA56200CB9.html =
Spinarius


1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_ABD68B58_ECE8_B7C5_41C6_84A4BC648859.html =
Spinarius


1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_ABD5158A_ECE8_D345_41EA_DC27EB4EEAD2.html =
Spinarius


1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_ABDB3D4C_ECE8_53DD_41E5_76A3FAE7DB71.html =
Spinarius


1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_ABDAB58C_ECE8_D35D_41E5_25FEB83EB613.html =
Spinarius


1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_ABDAA58D_ECE8_D35F_41C0_8309E30BF0A9.html =
Spinarius


1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_ABD6FB56_ECE8_B7CD_41E0_2A5D5143284A.html =
Spinarius


1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_ABD89D4D_ECE8_53DF_41AF_ED3878448D8D.html =
Spinarius


1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_ABD11B55_ECE8_B7CF_41EB_B10045375891.html =
Spinarius


1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_9309404F_D8B2_09D1_41EA_E86AE03EF727.html =
Standard of Saint George from the Church of San Giorgio al Velabro


Late 13th century
htmlText_AABA47AF_ECE8_7F5B_41E5_15CBA84127AC.html =
Statuary group with lion biting a horse


Hellenistic Age
The monumental group of the lion mauling a horse, located in the Exedra of Marcus Aurelius, is a concrete testimony to the greatness of Rome and the boundless heritage of art and culture handed down from ancient civilization to the present day.
The work, located on the Capitoline Hill, has had a strong symbolic meaning since the Middle Ages, since the mighty figure of the lion represented the allegory of good citizen government.
The sculpture was placed in various locations up until the early decades of the 20th century, when it was used to decorate the fountain in the Caffarelli garden in the Capitoline Museums.
In 2012, the sculpture was restored and exhibited at the Getty Villa in Malibu before returning to its current location.
htmlText_5D607773_DC21_2CB5_41E9_AEA706B0EDF6.html =
Statuary group with lion biting a horse


Hellenistic Age
The monumental group of the lion mauling a horse, located in the Exedra of Marcus Aurelius, is a concrete testimony to the greatness of Rome and the boundless heritage of art and culture handed down from ancient civilization to the present day.
The work, located on the Capitoline Hill, has had a strong symbolic meaning since the Middle Ages, since the mighty figure of the lion represented the allegory of good citizen government.
The sculpture was placed in various locations up until the early decades of the 20th century, when it was used to decorate the fountain in the Caffarelli garden in the Capitoline Museums.
In 2012, the sculpture was restored and exhibited at the Getty Villa in Malibu before returning to its current location.
htmlText_9439BA15_8573_2CFD_41D9_99987191144D.html =
Statuary group with lion biting a horse


Hellenistic Age
The monumental group of the lion mauling a horse, located in the Exedra of Marcus Aurelius, is a concrete testimony to the greatness of Rome and the boundless heritage of art and culture handed down from ancient civilization to the present day.
The work, located on the Capitoline Hill, has had a strong symbolic meaning since the Middle Ages, since the mighty figure of the lion represented the allegory of good citizen government.
The sculpture was placed in various locations up until the early decades of the 20th century, when it was used to decorate the fountain in the Caffarelli garden in the Capitoline Museums.
In 2012, the sculpture was restored and exhibited at the Getty Villa in Malibu before returning to its current location.
htmlText_AA9FCFF1_ECEB_CEC7_41E6_B8798DB51890.html =
Statuary group with lion biting a horse


Hellenistic Age
The monumental group of the lion mauling a horse, located in the Exedra of Marcus Aurelius, is a concrete testimony to the greatness of Rome and the boundless heritage of art and culture handed down from ancient civilization to the present day.
The work, located on the Capitoline Hill, has had a strong symbolic meaning since the Middle Ages, since the mighty figure of the lion represented the allegory of good citizen government.
The sculpture was placed in various locations up until the early decades of the 20th century, when it was used to decorate the fountain in the Caffarelli garden in the Capitoline Museums.
In 2012, the sculpture was restored and exhibited at the Getty Villa in Malibu before returning to its current location.
htmlText_F6BC9BF9_D9B3_FEB1_41CA_1A0CC9224AD5.html =
Statue of Artemis of Ephesus


Roman copy of a Hellenistic original from the 2nd century BC
htmlText_6701631D_751F_D505_41C5_4778E91E26CA.html =
Statue of Athena/Minerva


2nd century BC
htmlText_ABD8DD45_ECE8_53CF_41C1_1DA8C24B0786.html =
Statue of Camillus


1st century AD
The bronze statue with silver eyes has been identified as Camillus: in the Roman world, Camillus was the young man who helped the priest during the ceremonies of sacrifice to the gods.
The ambiguous sexual characterization of this figure has led to different interpretations over time.
At the end of the 15th century, it was described as a ‘gypsy’, while in the following centuries it was gradually identified as a togaed figure and as a servant, while its identification took place in the 17th century.
It can be dated to the Julio-Claudia/Neronian period (14-68 AD) on the basis of the characteristics of the garment and some of the features of the face and hair.
The statue was probably part of a donation to the Roman people by Pope Sixtus IV in 1471 of a group of antique bronzes that had been kept in the Lateran until then.
htmlText_8AFBC017_8551_3CFD_41D2_B5E107A058F1.html =
Statue of Camillus


1st century AD
The bronze statue with silver eyes has been identified as Camillus: in the Roman world, Camillus was the young man who helped the priest during the ceremonies of sacrifice to the gods.
The ambiguous sexual characterization of this figure has led to different interpretations over time.
At the end of the 15th century, it was described as a ‘gypsy’, while in the following centuries it was gradually identified as a togaed figure and as a servant, while its identification took place in the 17th century.
It can be dated to the Julio-Claudia/Neronian period (14-68 AD) on the basis of the characteristics of the garment and some of the features of the face and hair.
The statue was probably part of a donation to the Roman people by Pope Sixtus IV in 1471 of a group of antique bronzes that had been kept in the Lateran until then.
htmlText_ABD1BB4E_ECE8_B7DD_41E5_00180C684B98.html =
Statue of Camillus


1st century AD
The bronze statue with silver eyes has been identified as Camillus: in the Roman world, Camillus was the young man who helped the priest during the ceremonies of sacrifice to the gods.
The ambiguous sexual characterization of this figure has led to different interpretations over time.
At the end of the 15th century, it was described as a ‘gypsy’, while in the following centuries it was gradually identified as a togaed figure and as a servant, while its identification took place in the 17th century.
It can be dated to the Julio-Claudia/Neronian period (14-68 AD) on the basis of the characteristics of the garment and some of the features of the face and hair.
The statue was probably part of a donation to the Roman people by Pope Sixtus IV in 1471 of a group of antique bronzes that had been kept in the Lateran until then.
htmlText_98FA0EA3_D97E_1951_41E8_5BAE70C3D394.html =
Statue of Camillus


1st century AD
The bronze statue with silver eyes has been identified as Camillus: in the Roman world, Camillus was the young man who helped the priest during the ceremonies of sacrifice to the gods.
The ambiguous sexual characterization of this figure has led to different interpretations over time.
At the end of the 15th century, it was described as a ‘gypsy’, while in the following centuries it was gradually identified as a togaed figure and as a servant, while its identification took place in the 17th century.
It can be dated to the Julio-Claudia/Neronian period (14-68 AD) on the basis of the characteristics of the garment and some of the features of the face and hair.
The statue was probably part of a donation to the Roman people by Pope Sixtus IV in 1471 of a group of antique bronzes that had been kept in the Lateran until then.
htmlText_ABD5F584_ECE8_D34D_41E7_A62401D49DF7.html =
Statue of Camillus


1st century AD
The bronze statue with silver eyes has been identified as Camillus: in the Roman world, Camillus was the young man who helped the priest during the ceremonies of sacrifice to the gods.
The ambiguous sexual characterization of this figure has led to different interpretations over time.
At the end of the 15th century, it was described as a ‘gypsy’, while in the following centuries it was gradually identified as a togaed figure and as a servant, while its identification took place in the 17th century.
It can be dated to the Julio-Claudia/Neronian period (14-68 AD) on the basis of the characteristics of the garment and some of the features of the face and hair.
The statue was probably part of a donation to the Roman people by Pope Sixtus IV in 1471 of a group of antique bronzes that had been kept in the Lateran until then.
htmlText_AA9E8FE9_ECEB_CEC7_41E8_04C0E4B7C687.html =
Statue of Camillus


1st century AD
The bronze statue with silver eyes has been identified as Camillus: in the Roman world, Camillus was the young man who helped the priest during the ceremonies of sacrifice to the gods.
The ambiguous sexual characterization of this figure has led to different interpretations over time.
At the end of the 15th century, it was described as a ‘gypsy’, while in the following centuries it was gradually identified as a togaed figure and as a servant, while its identification took place in the 17th century.
It can be dated to the Julio-Claudia/Neronian period (14-68 AD) on the basis of the characteristics of the garment and some of the features of the face and hair.
The statue was probably part of a donation to the Roman people by Pope Sixtus IV in 1471 of a group of antique bronzes that had been kept in the Lateran until then.
htmlText_93FC6A2F_D8B6_3951_41E0_7F3EF0A3B525.html =
Statue of Charles I of Anjou


Arnolfo di Cambio


ca. 1275-1277
htmlText_A60286F5_EC28_7ECF_41A3_8D374A819CA9.html =
Statue of Cupid and Psyche


Roman copy from the 2nd century AD of a Greek original of the 2nd century BC
htmlText_351A7045_3432_044E_41A1_38576E2F7E83.html =
Statue of Cupid and Psyche


Roman copy from the 2nd century AD of a Greek original of the 2nd century BC
htmlText_35198C2E_343E_03DA_41C1_3AD6E1ADE644.html =
Statue of Cupid and Psyche


Roman copy from the 2nd century AD of a Greek original of the 2nd century BC
htmlText_68A8931A_753E_D50F_41D1_02C36FB8A2DD.html =
Statue of Cupid stringing a bow


Roman copy of the 1st century AD of a Lysippean original from the 4th century BC
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Statue of Cupid stringing a bow


Roman copy of the 1st century AD of a Lysippean original from the 4th century BC
htmlText_7AC9A89F_751B_5305_41B9_107894A0C45B.html =
Statue of Faustina Major as the Goddess of Fortune


160 AD
htmlText_594E5A9C_752F_F70B_41A7_E993A408F753.html =
Statue of Harpocrates


Late Hadrian Age (136-138 AD)
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Statue of Hercules fighting


Roman copy of a Greek original from the end of the 4th century BC
htmlText_ABFC6186_EC18_D34D_41E6_C1456D641859.html =
Statue of Hercules in gilded bronze


2nd century BC
htmlText_5DA57E9C_71B3_08B7_41D0_B3F571BD450B.html =
Statue of Hercules in gilded bronze


2nd century BC
htmlText_76BEEBBE_341E_043A_41BE_2D56D1E0EBBD.html =
Statue of Hercules in gilded bronze


2nd century BC
htmlText_066235CB_75EE_B439_41D3_E65D91BE9457.html =
Statue of Hercules in gilded bronze


2nd century BC
htmlText_AB176702_ECE8_5F45_41E9_CDE5122B11DD.html =
Statue of Hercules in gilded bronze


Statue of Hercules in gilded bronze
htmlText_A60F19BE_EC38_52BD_41DE_841293A2BB8F.html =
Statue of Hercules, restored as Hercules fighting the Hydra


Second half of the 2nd century AD
htmlText_E1896A75_DC21_24BD_41D4_7914FD150183.html =
Statue of Hercules, restored as Hercules fighting the Hydra


Second half of the 2nd century AD
htmlText_6A85CC51_753A_F31D_41D9_E1F4932B287E.html =
Statue of Leda with the swan


Roman copy of a Greek original from the early 4th century BC
htmlText_A632F9BB_EC38_52BB_41E2_ABA31E42DC72.html =
Statue of Leda with the swan


Roman copy of a Greek original from the early 4th century BC
htmlText_D45767BD_85AD_6D8E_41BD_3448F20210B3.html =
Statue of Marsyas


Imperial Age copy of a Greek original from the 2nd century BC
htmlText_ABF1D71A_ECE8_DF45_41E6_6E61DF77FA28.html =
Statue of Marsyas


Imperial Age copy of a Greek original from the 2nd century BC
htmlText_69D47AE2_70B3_0893_419B_CB3E6D57F8E8.html =
Statue of Pope Innocent X


Alessandro Algardi


1645-1650
htmlText_D02311EE_EC18_B2DD_41D3_CA9E98D2EC78.html =
Statue of Pope Urban VIII


Gian Lorenzo Bernini and his apprentices


1635-1640
htmlText_699C2552_70B3_19B3_41AC_9ADE340A5277.html =
Statue of Pope Urban VIII


Gian Lorenzo Bernini and his apprentices


1635-1640
htmlText_D0124BED_EC18_F6DF_41E3_AE4E2FC50CED.html =
Statue of Pope Urban VIII


Gian Lorenzo Bernini and his apprentices


1635-1640
htmlText_ABD09B4B_ECE8_B7DB_41EC_24D3DD23C5B7.html =
Statue of Spinarius


Second half of the 1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_ABDA6D42_ECE8_53C5_41E6_8DF87F6AFD84.html =
Statue of Spinarius


Second half of the 1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_AA9C3FEE_ECEB_CEDD_41E5_F25983E85B3D.html =
Statue of Spinarius


Second half of the 1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_ABD49581_ECE8_D347_41EA_568AD0BE96BB.html =
Statue of Spinarius


Second half of the 1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_98519AEC_D972_1ED7_41B2_701D0C2CB908.html =
Statue of Spinarius


Second half of the 1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_98D820E3_8571_3D55_41E0_4CD2241A4108.html =
Statue of Spinarius


Second half of the 1st century BC


This small bronze sculpture, depicting a young man in the act of removing a thorn from his foot, came to Capitoline Hill in 1471, along with the donation of the Lateran bronzes to the Roman people made by Pope Sixtus IV.
The singular and particularly graceful pose of the figure, caught in an unusual gesture, made it one of the most appreciated and copied works of the Renaissance, and at the same time gave rise to numerous interpretative ideas on the identification of the character. It is an eclectic work, probably conceived in the 1st century BC by merging Hellenistic models from the 3rd -2nd century BC for the body with a head derived from Greek works from the 5th century BC.
htmlText_6AFE0EF8_752A_CF0B_41D4_A48CFCEB3020.html =
Statue of a Drunken Old Woman


Roman copy of a Hellenistic original from the 3rd-2nd century BC
htmlText_A19EDEBD_EC38_4EBF_41E1_B3C63977F052.html =
Statue of a Drunken Old Woman


Roman copy of a Hellenistic original from the 3rd-2nd century BC
htmlText_35198C2C_343E_03DE_41C0_7EF601758739.html =
Statue of a resting Satyr


Copy from the Hadrian Age (second half of the 2nd century AD) of an original by Praxiteles (4th century AD)
htmlText_351A7043_3432_044A_41C9_FDFE97F82D6F.html =
Statue of a resting Satyr


Copy from the Hadrian Age (second half of the 2nd century AD) of an original by Praxiteles (4th century AD)
htmlText_A60376F3_EC28_7ECB_41EC_F7FBFC205E8B.html =
Statue of a resting Satyr


Copy from the Hadrian Age (second half of the 2nd century AD) of an original by Praxiteles (4th century AD)
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Statue of a satyr, the so-called Red Faun


Roman copy of a late Hellenistic original (2nd-1st century BC)
htmlText_5886F276_7515_7707_41D5_CCC46D440B32.html =
Statue of a satyr, the so-called Red Faun


Roman copy of a late Hellenistic original (2nd-1st century BC)


htmlText_AFFF5CF3_0D85_4F30_4175_F4AB1E0F4FE0.html =
Statue of a satyr, the so-called Red Faun


Roman copy of a late Hellenistic original (2nd-1st century BC)


htmlText_5DE8155C_753B_DD0B_41D7_1D72A4404EAF.html =
Statue of a wounded Amazon signed Sosikles


Copy of original by Polykleitos


5th century BC
htmlText_56FEE49D_0D7A_FFF0_4162_F05214DE563F.html =
Statue of a wounded Amazon


Roman copy from the early Imperial Age of a Greek original attributed to Phidias (5th century BC)
htmlText_5B2F9F9F_751D_CD05_41D8_89A3AF8DA647.html =
Statue of a wounded Amazon


Roman copy from the early Imperial Age of a Greek original attributed to Phidias (5th century BC)
htmlText_A60386F1_EC28_7EC7_41EC_76AB89148560.html =
Statue of a wounded Amazon


Roman copy from the early Imperial Age of a Greek original attributed to Phidias (5th century BC)
htmlText_9B0F5E00_D96E_194F_41E4_5FC72AC83BE6.html =
Statue of an athlete


Roman copy of a Greek original from the 4th century BC
htmlText_A60276D9_EC29_BEC7_41ED_536900CF6E6B.html =
Statue of the Capitoline Venus


Roman copy of a Greek original from the end of the 4th century BC
htmlText_5505170C_751D_5D0B_41D0_7995CA55EDFE.html =
Statue of the Capitoline Venus


Roman copy of a Greek original from the end of the 4th century BC
htmlText_56FCE49B_0D7A_FFF0_41A6_B610D4E746DD.html =
Statue of the Dying Gaul


Roman copy of a Hellenistic original (second half of the 3rd century BC)
htmlText_5B36E74A_751B_FD0F_41AC_96F5C4D4CF6E.html =
Statue of the Dying Gaul


Roman copy of a Hellenistic original (second half of the 3rd century BC)
htmlText_A60266F0_EC28_7EC5_41E0_3BD2074CC9A9.html =
Statue of the Dying Gaul


Roman copy of a Hellenistic original (second half of the 3rd century BC)
htmlText_5DDBB577_7051_3871_41BC_FF1238D9D4FE.html =
Statue of the Esquiline Venus


Early Imperial Age (beginning of the 1st century AD)
htmlText_69A7AC8D_3412_3CD9_41B6_0AA7369773B5.html =
Statue of the Esquiline Venus


Early Imperial Age (beginning of the 1st century AD)
htmlText_ABD7F301_ECE8_D747_41E8_0D5F651757E2.html =
Statue of the Esquiline Venus


Early Imperial Age
htmlText_56260AB2_7071_08F3_41A5_97D26FB7E24C.html =
Statuette of a seated ancestor from Cerveteri


Second half of the 7th century BC
htmlText_768A9BC5_341E_044E_41BE_5FCC645C3164.html =
Temple of Jupiter Optimus Maximum


6th century BC
The occupation of the Capitoline Hill was very early in date.
As early as the Bronze Age, there was a small village on the top of the Capitoline Hill, but it was only in the Iron Age that traces of life and activity became more substantial: the remains of a settlement and its necropolis have been discovered.
In the 6th century BC, the turning point came with the construction of the Temple of Jupiter Optimus Maximus.
Nothing was the same as before: even the small temples that had sprung up over time in the area were moved. The new temple was an assault of geometric, floral and figurative terracotta decorations.
From the very beginning, the building was colossal in size, further emphasized by the construction, in later stages, of a flight of steps leading up to the podium on which the truly imposing building stood.
It was a temple that caused the Capitoline Hill to become a reference point for Romans of all ages. Even in the present day.
htmlText_6C5DD2DD_44C8_20FD_41BA_C9BEE0A41CC6.html =
Temple of Jupiter Optimus Maximum


6th century BC
The occupation of the Capitoline Hill was very early in date.
As early as the Bronze Age, there was a small village on the top of the Capitoline Hill, but it was only in the Iron Age that traces of life and activity became more substantial: the remains of a settlement and its necropolis have been discovered.
In the 6th century BC, the turning point came with the construction of the Temple of Jupiter Optimus Maximus.
Nothing was the same as before: even the small temples that had sprung up over time in the area were moved. The new temple was an assault of geometric, floral and figurative terracotta decorations.
From the very beginning, the building was colossal in size, further emphasized by the construction, in later stages, of a flight of steps leading up to the podium on which the truly imposing building stood.
It was a temple that caused the Capitoline Hill to become a reference point for Romans of all ages. Even in the present day.
htmlText_ABEA418B_EC18_D35B_41E6_38F3346E240A.html =
Temple of Jupiter Optimus Maximum


6th century BC
The occupation of the Capitoline Hill was very early in date.
As early as the Bronze Age, there was a small village on the top of the Capitoline Hill, but it was only in the Iron Age that traces of life and activity became more substantial: the remains of a settlement and its necropolis have been discovered.
In the 6th century BC, the turning point came with the construction of the Temple of Jupiter Optimus Maximus.
Nothing was the same as before: even the small temples that had sprung up over time in the area were moved. The new temple was an assault of geometric, floral and figurative terracotta decorations.
From the very beginning, the building was colossal in size, further emphasized by the construction, in later stages, of a flight of steps leading up to the podium on which the truly imposing building stood.
It was a temple that caused the Capitoline Hill to become a reference point for Romans of all ages. Even in the present day.
htmlText_90311E03_D8AE_7951_41AE_6D100DAD5DF4.html =
Temple of Jupiter Optimus Maximum


6th century BC
The occupation of the Capitoline Hill was very early in date.
As early as the Bronze Age, there was a small village on the top of the Capitoline Hill, but it was only in the Iron Age that traces of life and activity became more substantial: the remains of a settlement and its necropolis have been discovered.
In the 6th century BC, the turning point came with the construction of the Temple of Jupiter Optimus Maximus.
Nothing was the same as before: even the small temples that had sprung up over time in the area were moved. The new temple was an assault of geometric, floral and figurative terracotta decorations.
From the very beginning, the building was colossal in size, further emphasized by the construction, in later stages, of a flight of steps leading up to the podium on which the truly imposing building stood.
It was a temple that caused the Capitoline Hill to become a reference point for Romans of all ages. Even in the present day.
htmlText_91477B7B_D952_1FB1_41E1_059B01333AF3.html =
Temple of Jupiter Optimus Maximum


6th century BC
The occupation of the Capitoline Hill was very early in date.
As early as the Bronze Age, there was a small village on the top of the Capitoline Hill, but it was only in the Iron Age that traces of life and activity became more substantial: the remains of a settlement and its necropolis have been discovered.
In the 6th century BC, the turning point came with the construction of the Temple of Jupiter Optimus Maximus.
Nothing was the same as before: even the small temples that had sprung up over time in the area were moved. The new temple was an assault of geometric, floral and figurative terracotta decorations.
From the very beginning, the building was colossal in size, further emphasized by the construction, in later stages, of a flight of steps leading up to the podium on which the truly imposing building stood.
It was a temple that caused the Capitoline Hill to become a reference point for Romans of all ages. Even in the present day.
htmlText_AB07A166_EC28_53CD_419F_ABC0D669F45E.html =
Temple of Vejove


The Temple of Vejove was only brought to light in 1939, during the excavation under the Piazza del Campidoglio for the creation of the Lapidary Gallery.
The structures of the Senatorial Palace were superimposed on it as well as on the nearby Tabularium, in this case almost completely hiding the Roman building and thus helping to preserve it from destruction.
Based on the indications of ancient sources and the discovery in the area of the cella of the marble cult statue, it was possible to identify the deity to whom the temple was dedicated: the god Vejove, the juvenile and inferior counterpart of Jupiter of ancient Italic origin.
Latin authors define its position as “inter duos lucos”, i.e. between the two sacred woods located on the two heights of the Capitoline Hill. In the same area, the Asylum was located, where according to tradition, Romulus had given hospitality to fugitives from other sites in Latium to populate the new city he had founded.
Consecrated in 196 BC by the consul Lucius Furius Purpurion at the Battle of Cremona during the war against the Boii Gauls, the temple was then dedicated in 192 BC by Quintus Marcius Ralla.
A characteristic of the building, shared by a few other Roman temples and probably determined by the narrowness of the area, is the cella with a transversally elongated plan, whose width is almost twice the size of its depth (15 x 8.90 meters).
The high podium of the temple has an inner core of concrete covered with travertine on the outside.
The façade, aligned with the road leading up from the Clivus Capitolinus, has a pronaos with four columns at the centre, preceded by a flight of steps.
Three construction phases have been identified, the last of which can be dated to the first quarter of the 1st century BC and is connected to the construction of the Tabularium.
The temple was later restored by the Emperor Domitian in the 1st century AD, with the addition of brick pillars and the covering of the floor and walls of the cella in coloured marble.
The area surrounding the building was paved with travertine slabs.


htmlText_A57C958C_8577_27D3_41B0_BAA7897AEC9F.html =
Temple of Vejove


The Temple of Vejove was only brought to light in 1939, during the excavation under the Piazza del Campidoglio for the creation of the Lapidary Gallery.
The structures of the Senatorial Palace were superimposed on it as well as on the nearby Tabularium, in this case almost completely hiding the Roman building and thus helping to preserve it from destruction.
Based on the indications of ancient sources and the discovery in the area of the cella of the marble cult statue, it was possible to identify the deity to whom the temple was dedicated: the god Vejove, the juvenile and inferior counterpart of Jupiter of ancient Italic origin.
Latin authors define its position as “inter duos lucos”, i.e. between the two sacred woods located on the two heights of the Capitoline Hill. In the same area, the Asylum was located, where according to tradition, Romulus had given hospitality to fugitives from other sites in Latium to populate the new city he had founded.
Consecrated in 196 BC by the consul Lucius Furius Purpurion at the Battle of Cremona during the war against the Boii Gauls, the temple was then dedicated in 192 BC by Quintus Marcius Ralla.
A characteristic of the building, shared by a few other Roman temples and probably determined by the narrowness of the area, is the cella with a transversally elongated plan, whose width is almost twice the size of its depth (15 x 8.90 meters).
The high podium of the temple has an inner core of concrete covered with travertine on the outside.
The façade, aligned with the road leading up from the Clivus Capitolinus, has a pronaos with four columns at the centre, preceded by a flight of steps.
Three construction phases have been identified, the last of which can be dated to the first quarter of the 1st century BC and is connected to the construction of the Tabularium.
The temple was later restored by the Emperor Domitian in the 1st century AD, with the addition of brick pillars and the covering of the floor and walls of the cella in coloured marble.
The area surrounding the building was paved with travertine slabs.


htmlText_94213CCE_8A66_A65A_41B8_C3483B34D505.html =
The Burial of Saint Petronilla


Guercino


1621-1623
htmlText_954B0AAC_8A66_A2DE_41D3_A68CD54C1229.html =
The Burial of Saint Petronilla


Guercino


1621-1623
htmlText_4E59B93A_7051_09F3_41D0_C880165AA8E6.html =
The Burial of Saint Petronilla


Guercino


1621-1623
htmlText_94180D5D_8A66_667E_41D2_0135E73953D0.html =
The Burial of Saint Petronilla


Guercino


1621-1623
htmlText_9426FD5E_8A66_667A_41C1_8A2462B9CB99.html =
The Fortune Teller


Caravaggio


ca. 1597
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The Fortune Teller


Caravaggio


ca. 1597
htmlText_0B1360C5_76AB_8112_41D3_BE33C64FC277.html =
The Fortune Teller


Caravaggio


ca. 1597
htmlText_954ADAAE_8A66_A2DA_41DD_40F2591C7998.html =
The Fortune Teller


Caravaggio


ca. 1597
htmlText_ABB54779_ECE8_7FC7_41D2_0C5B3003E39A.html =
The So-called Tensa Capitolina


3rd-4th century AD
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The So-called Tensa Capitolina


3rd-4th century AD
htmlText_E087E4A0_D956_094F_41CD_2E7FF6782C58.html =
The So-called Tensa Capitolina


3rd-4th century AD
htmlText_1A2219D8_DC21_27F3_41CB_5508D7A0F235.html =
The miracle of Saint Peter


End of the 17th – beginning of the 18th century
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The probatic swimming pool


Lucio Massari
htmlText_8F0D3DD9_F638_496D_41D5_0A333D5226A8.html =
The probatic swimming pool


Lucio Massari
htmlText_A736C864_F6F8_D75B_41DA_38181C0CAAB4.html =
The probatic swimming pool


Lucio Massari
htmlText_6B48BBC2_7535_557F_41DA_B1219810EDED.html =
Torso of Discobolus, restored as a wounded warrior


Roman copy from the 1st century AD of a Myronian original from the 5th century BC
htmlText_A181AEBB_EC38_4EBB_41D4_69FA424A9238.html =
Torso of Discobolus, restored as a wounded warrior


Roman copy from the 1st century AD of a Myronian original from the 5th century BC
htmlText_CC80E70A_DBE7_2C57_41E3_8ABA951D2B36.html =
Transit and Assumption of the Virgin


Cola dell’Amatrice


ca. 1515
htmlText_9D1C9D93_F668_49FD_41EB_9AC2CD318ACE.html =
Transit and Assumption of the Virgin


Cola dell’Amatrice


ca. 1515
htmlText_AFE449DB_EC18_72FB_41C4_467A576895EE.html =
Triumph of Lucius Aemilius Paulus over Perseus


Michele Alberti and Jacopo Rocchetti


1569
htmlText_6D4E48B3_70D1_08F1_41C1_1F03AA092A78.html =
Triumph of Lucius Aemilius Paulus over Perseus


Michele Alberti e Jacopo Rocchetti


1569
htmlText_6140C70D_34F2_0DDE_4180_82BA299A6F51.html =
Upper part of a colossal statue of a Dacian prisoner


Trajan's Age (98-117 AD)
htmlText_C7462683_D9F2_0951_41B8_987BCCA84BAD.html =
Upper part of a colossal statue of a Dacian prisoner


Trajan's Age (98-117 AD)
htmlText_307CE2D2_707F_38B3_41BD_E530FADAE814.html =
View of Monte Cavallo


Gaspar Van Vittel


1682
htmlText_AB30FAD9_EC28_56C7_41EB_4C1CC4C8A9E5.html =
View of the Roman Forum from the Upper Gallery of the Tabularium
htmlText_AB3B8882_EC28_B145_41D6_14B096EBFDB2.html =
View of the Roman Forum from the Upper Gallery of the Tabularium
htmlText_AF061286_0D9D_DBD0_4190_676CF87F9649.html =
View of the Roman Forum from the Upper Gallery of the Tabularium
htmlText_6ABD8A90_70D3_088F_4170_F0BBEFE58C72.html =
Vittoria of Lake Regillo


Tommaso Laureti


1587-1594
htmlText_7F65E133_F61B_F93D_41E6_6CDDA7A2A37E.html =
Worship of the Golden Calf


Francois Perrier


ca. 1642
htmlText_4D27F011_71D1_77B1_41BF_77D8C993FE65.html =
Worship of the Golden Calf


Francois Perrier


ca. 1642
htmlText_A18A4BD6_EC2F_D6CD_41EA_41ABDCCF83B9.html =
Young Centaur statue by Aristas and Papias


Hadrian period (117-138 AD)
htmlText_3512E694_3432_0CCE_41A8_16CF14AE647D.html =
Young Centaur statue by Aristas and Papias


Hadrian period (117-138 AD)
htmlText_56F824A3_0D7A_FFD0_41A0_09CA2C203186.html =
“Antinuos” of Capitoline Hill


Hadrian Age (117-138 AD)


htmlText_A603F6F6_EC28_7ECD_41B8_898727957A58.html =
“Antinuos” of Capitoline Hill


Hadrian Age (117-138 AD)


htmlText_452B3543_751D_5D7D_4189_480CC03AF9CF.html =
“Antinuos” of Capitoline Hill


Hadrian Age (117-138 AD)
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Capitoline Museums
INTRODUCTION


The birth of the Capitoline Museums is traced back to 1471, when Pope Sixtus IV gave the Roman people a group of bronze statues of great symbolic value.


The collections have a close link with the city of Rome, from which most of the works come.


INFO
For information consult the website www.museicapitolini.org or contact the number 060608 (every day from 9.00 to 19.00).
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JOHN DOE
Licensed Real Estate Salesperson


Tlf.: +11 111 111 111
jhondoe@realestate.com
www.loremipsum.com



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LOREM IPSUM
DOLOR SIT AMET
HTMLText_0B4B0DC1_11C0_6277_41A4_201A5BB3F7AE.html =
JOHN DOE
LICENSED REAL ESTATE SALESPERSON


Tlf.: +11 111 111 111
jhondoe@realestate.com
www.loremipsum.com



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Capitoline Museums


The birth of the Capitoline Museums is traced back to 1471, when Pope Sixtus IV gave the Roman people a group of bronze statues of great symbolic value.


The collections have a close link with the city of Rome, from which most of the works come.


INFO


Capitoline Museum
Piazza del Campidoglio, 1, 00186 Rome RM


For information consult the website www.museicapitolini.org or contact the number 060608 (every day from 9.00 to 19.00).
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