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Established | 1889 |
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Location |
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Coordinates | 41°54′4.51″N12°29′53.86″E / 41.9012528°N 12.4982944°E |
Type | archaeology |
Director | Daniela Porro [1] [2] |
Website | Official website |
The National Roman Museum (Italian: Museo Nazionale Romano) is a museum, with several branches in separate buildings throughout the city of Rome, Italy. It shows exhibits from the pre- and early history of Rome, with a focus on archaeological findings from the period of Ancient Rome.
Founded in 1889 and inaugurated in 1890, the museum's first aim was to collect and exhibit archaeologic materials unearthed during the excavations after the union of Rome with the Kingdom of Italy.
The initial core of its collection originated from the Kircherian Museum, archaeologic works assembled by the antiquarian and Jesuit priest, Athanasius Kircher, which previously had been housed within the Jesuit complex of Sant'Ignazio. The collection was appropriated by the state in 1874, after the suppression of the Society of Jesus. Renamed initially as the Royal Museum, the collection was intended to be moved to a Museo Tiberino (Tiberine Museum), which was never completed.
In 1901 the Italian state granted the National Roman Museum the recently acquired Collection Ludovisi as well as the important national collection of Ancient Sculpture. Findings during the urban renewal of the late 19th century added to the collections.
In 1913, a ministerial decree sanctioned the division of the collection of the Museo Kircheriano among all the different museums that had been established over the last decades, such as the National Roman Museum, the National Etruscan Museum of Villa Giulia and the Museum of Castel Sant'Angelo.
Its seat was established in the charterhouse designed and realised in the 16th century by Michelangelo within the Baths of Diocletian, which currently houses the epigraphic and the protohistoric sections of the modern museum, while the main collection of ancient art was moved to the nearby Palazzo Massimo alle Terme, acquired by the Italian state in 1981.
The reconversion of the area of the ancient bath/charterhouse into an exhibition space began on the occasion of the International Exhibition of Art of 1911; this effort was completed in the 1930s.
The palace was built on the site once occupied by the Villa Montalto-Peretti, named after Pope Sixtus V, who had been born with the name Francesco Peretti di Montalto. The present building was commissioned by Prince Massimiliano Massimo, so as to give a seat to the Jesuit Roman College, originally within the convent of the Church of St. Ignatius of Loyola at Campus Martius. In 1871, the College had been ousted from the convent by the government which converted it into the Liceo Visconti, the first secular public high school of Italy. Erected between 1883 and 1887 by the architect Camillo Pistrucci in Neo-Renaissance style, it was one of the most prestigious schools of Rome until 1960. During World War II, it was partially used as a military hospital, but it then returned to scholastic functions after the war only until the 1960s, when the school was moved to a newer seat in the EUR quarter.
In 1981, when the palace was lying in a state of neglect and disrepair, the Italian Government acquired it for 19 billion lira and granted it to the National Roman Museum. Its restoration and adaptation began in 1983 and was completed in 1998. The palace eventually became the main seat of the museum as well as the headquarters of the Agency of the Ministry of Cultural Heritage and Activities of Italy (Italian : Soprintendenza Speciale per i Beni Archeologici di Roma), in charge for the archaeological heritage of Rome. The museum houses the ancient art (sculptures, paintings, mosaics and goldsmiths’ crafts from the Republican Age to the Late Antiquity) as well as the numismatic collection, housed in the Medagliere, i.e. the coin cabinet.
The ground floor features the notable bronze statues of the Boxer at Rest and the Athlete.
One room is devoted to the mummy that was found in 1964 on the Via Cassia, inside a richly decorated sarcophagus with several artefacts in amber and pieces of jewellery also on display. Sculptures of the period between the late Roman Republic and the early imperial period (2nd century BC to 1st century AD), include:
Frescoes, stuccoes and mosaics, including those from the villa of Livia, wife of Augustus, at Prima Porta on the Via Flaminia. It begins with the summer triclinium of Livia's Villa ad Gallinas Albas. The frescoes, discovered in 1863 and dating back to the 1st century BC, show a luscious garden with ornamental plants and pomegranate trees.
The Museum's numismatic collection is the largest in Italy. Among the coins on exhibit are Theodoric’s medallion, the four ducats of Pope Paul II with the navicella of Saint Peter, and the silver piastre of the Papal State with views of the city of Rome.
The building was designed in the 15th century by Melozzo da Forlì for Girolamo Riario, a relation of Pope Sixtus IV. There is still a fresco on one wall of the rooms in the palazzo that celebrates the wedding of Girolamo to Caterina Sforza in 1477, showing the silver plates and other wedding gifts given to the couple. When the Riario family began to decline after the death of Pope Sixtus IV, the palazzo was sold to Cardinal Francesco Soderini of Volterra, who commissioned further refinements from the architects Sangallo the Elder and Baldassare Peruzzi.
When the Soderini family fell on hard times, he in turn sold it in 1568 to the Austrian-born cardinal Mark Sittich von Hohenems Altemps, the son of the sister of Pope Pius IV. Cardinal Altemps commissioned the architect Martino Longhi to expand and improve the palazzo; it was Longhi who built the belvedere. Cardinal Altemps accumulated a large collection of books and ancient sculpture. Though his position as the second son in his family meant Marco Sittico Altemps became a cleric, he was not inclined to priesthood. His mistress bore him a son, Roberto, made Duke of Gallese. Roberto Altemps was executed for adultery in 1586 by Pope Sixtus V.
The Altemps family continued to mix in the circles of Italian nobility throughout the 17th century. Roberto's granddaughter Maria Cristina d'Altemps married Ippolito Lante Montefeltro della Rovere, Duke of Bomarzo.
The Palazzo Altemps became the property of the Holy See in the 19th century, and the building was used as a seminary for a short time. It was granted to the Italian state in 1982 and after 15 years of restoration, inaugurated as a museum in 1997.
The palazzo houses the museum's exhibits on the history of collecting (sculptures from Renaissance collections such as the Boncompagni-Ludovisi and Mattei collections, including the Ludovisi Ares, Ludovisi Throne, and the Suicide of a Gaul (from the same Pergamon group as the Dying Gaul) and the Egyptian collection (sculptures of eastern deities). The palace also includes the historic private theatre, at present used to house temporary exhibitions, and the church of Sant' Aniceto.
In 1981, digging on a derelict site in the Campus Martius between the churches of Santa Caterina dei Funari and Santo Stanislao dei Polacchi, Daniel Manacorda and his team discovered the colonnaded quadriporticus of the Theatre of Lucius Cornelius Balbus, the nearby statio annonae and evidence of later, medieval occupation of the site. These are presented in this branch of the museum, inaugurated in 2001, which houses the archaeological remains and finds from that dig (including a stucco arch from the porticus).
As well as new material from the excavations, objects in this exhibition space come from
The building's basement contains archaeological remains. Access is only by guided tour.
The first section ("archaeology and history of an urban landscape") presents the results of the excavations, and puts them in the context of the history of the area. As well as showing the remains from the site itself, this section also tells of the Monastero di Santa Maria Domine Rose (begun nearby in the 8th century), of medieval merchants' and craftsmen's homes, of the Conservatorio di Santa Caterina dei Funari (built in the mid-16th century by Ignatius of Loyola to house the daughters of Roman prostitutes) and of the Botteghe Oscure.
A second section ("Rome from Antiquity to the Middle Ages") is the Museum of Medieval Rome and illustrates the life and transformation of Rome between the 5th and 10th centuries AD.
The cloister of the charterhouse of the church of Santa Maria degli Angeli e dei Martiri, this is often referred to as "Michelangelo's Cloister" as he was tasked by the Pope with transforming the Baths into a church and chapterhouse. However, it is more likely that Michelangelo just came up with the layout and that a pupil of his, Giacomo del Duca, was responsible for most of the actual architecture, at least in the initial phase of construction. The cloister was built only after Michelangelo's death in 1564. Construction began in 1565 but took at least until 1600. The upper floor was finished in 1676 and the central fountain dates to 1695. [3] : 45
Inside the square of the cloister, a 16th-century garden features outdoor displays of altars and funerary sculpture and inscriptions. These notably include some colossal animal heads, several of which date from Antiquity and were found near Trajan's Column in 1586. [3] : 47
On the upper floor of the cloister, this exhibit shows the development of the culture of Latium from the Bronze Age (11th century BC) to the Orientalizing Period (10th to 6th century BC) by means of archaeological findings from the region around Rome. [3] : 37
The small cloister of the charterhouse has been recently renovated. It occupies around a third of the area previously occupied by the natatio (swimming pool) of the Baths of Diocletian. It was originally built alongside the church. Construction began in the mid-16th century but continued beyond the 17th century. With a side length of 40 meters (half the size of Michelangelo's Cloister) it today features exhibits on the Arval Brethren and on the Secular Games. The late 16th-century travertine well in the centre was added during the recent renovation. [3] : 53–8
Showing over 900 exhibits on inscriptions/writings, over three floors of a modern building, this collection houses over 10,000 inscriptions. [3] : 15
These were the storage facilities created by Pope Clement XIII in some of the former halls of the Baths of Diocletian. These large halls (numbered I to XI), most of them without roof cover, have been part of the museum since 1911. [3] : 63–72
A small square room built next to a granary known Annona in 1640. In 1754 it was converted into a chapel dedicated to Saint Isidore. [3] : 61–2
This was part of the central complex of the Baths of Diocletian. It was the last of the four halls next to the caldarium. It was converted into a grain store in 1575, and in 1764 became a storage facility for oil. The dome is still the original one. The hall served as an exhibition site in 1911 but was then turned into a cinema and, in 1928, into a planetarium. [3] : 73–4
The hall was restored in 1991. It is devoted to sculptures found on baths sites in Rome.
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Palazzo Farnese or Farnese Palace is one of the most important High Renaissance palaces in Rome. Owned by the Italian Republic, it was given to the French government in 1936 for a period of 99 years, and currently serves as the French embassy in Italy.
The Farnese Hercules is an ancient statue of Hercules, probably an enlarged copy made in the early third century AD and signed by Glykon, who is otherwise unknown; he was an Athenian but he may have worked in Rome. Like many other Ancient Roman sculptures it is a copy or version of a much older Greek original that was well known, in this case a bronze by Lysippos that would have been made in the fourth century BC. This original survived for over 1500 years until it was melted down by Crusaders in 1205 during the Sack of Constantinople. The enlarged copy was made for the Baths of Caracalla in Rome, where the statue was recovered in 1546, and is now in the Museo Archeologico Nazionale in Naples. The heroically-scaled Hercules is one of the most famous sculptures of antiquity, and has fixed the image of the mythic hero in the European imagination.
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The Capitoline Museums are a group of art and archaeological museums in Piazza del Campidoglio, on top of the Capitoline Hill in Rome, Italy. The historic seats of the museums are Palazzo dei Conservatori and Palazzo Nuovo, facing on the central trapezoidal piazza in a plan conceived by Michelangelo in 1536 and executed over a period of more than 400 years.
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The Ludovisi Ares is an Antonine Roman marble sculpture of Ares, a fine 2nd-century copy of a late 4th-century BCE Greek original, associated with Scopas or Lysippus: thus the Roman god of war receives his Greek name, Ares.
The Gardens of Sallust was an ancient Roman estate including a landscaped pleasure garden developed by the historian Sallust in the 1st century BC. It occupied a large area in the northeastern sector of Rome, in what would become Region VI, between the Pincian and Quirinal hills, near the Via Salaria and later Porta Salaria. The modern rione is now known as Sallustiano.
Ludovico Ludovisi was an Italian cardinal and statesman of the Roman Catholic Church. He was an art connoisseur who formed a famous collection of antiquities, housed at the Villa Ludovisi in Rome.
The Sleeping Hermaphrodite is an ancient marble sculpture depicting Hermaphroditus life size. In 1620, Italian artist Gian Lorenzo Bernini sculpted the mattress upon which the statue now lies. The form is partly derived from ancient portrayals of Venus and other female nudes, and partly from contemporaneous feminised Hellenistic portrayals of Dionysus/Bacchus. It represents a subject that was much repeated in Hellenistic times and in ancient Rome, to judge from the number of versions that have survived. Discovered at Santa Maria della Vittoria, Rome, the Sleeping Hermaphrodite was immediately claimed by Cardinal Scipione Borghese and became part of the Borghese Collection. The "Borghese Hermaphrodite" was later sold to the occupying French and was moved to The Louvre, where it is on display.
Ippolito Buzzi (1562–1634) was an Italian sculptor from Viggiù, near Varese, in northernmost Lombardy, a member of a long-established dynasty of painters, sculptors and architects from the town, who passed his mature career in Rome. His personality as a sculptor is somewhat overshadowed by the two kinds of work he is known for: restorations to ancient Roman sculptures, some of them highly improvisatory by modern standards, and sculpture contributed to architectural projects and funeral monuments, where he was one among a team of craftsmen working under the general direction of an architect, like Giacomo della Porta - in projects for Pope Clement VIII, or Flaminio Ponzio - in projects for Pope Paul V - who would provide the designs from which the work was executed, always in consultation with the patron.
The Hermes Ludovisi, also formerly known as Mercurio Oratore, is a Hellenistic sculpture of the god Hermes in his form of Hermes Psychopompus. It is made of Italic marble and is a somewhat slick 1st-century AD Roman copy after an inferred bronze original of the 5th century BC which is traditionally attributed to the young Phidias, ca 440 BC, or alternatively called "Myronic". Its model is among the earliest sculptural representations of Hermes as beardless and youthful. It was acquired by Cardinal Ludovico Ludovisi for the Ludovisi collection and is now on show at the Palazzo Altemps.
The Juno Ludovisi is a colossal Roman marble head of the 1st century CE from an acrolithic statue of an idealized and youthful Antonia Minor as the goddess Juno. Added to the Ludovisi collection formed by Cardinal Ludovico Ludovisi, it is now in the Palazzo Altemps, Museo Nazionale Romano, Rome.
The over-lifesize marble Dionysus with Panther and Satyr in the Palazzo Altemps, Rome, is a Roman work of the 2nd century AD, found in the 16th century on the Quirinal Hill at the time foundations were being dug for Palazzo Mattei at Quattro Fontane. The statue was purchased for the Ludovisi collection, where it was first displayed in front of the Palazzo Grande, the main structure of the Villa Ludovisi, and by 1641 in the gallery of sculptures in the Casino Capponi erected for Cardinal Ludovico Ludovisi in the villa's extensive grounds. By 1885, it had been removed to the new Palazzo del Principe di Piombino, nearby in via Veneto. With the rest of the Boncompagni-Ludovisi collection, which was open to the public on Sundays and covered in the guidebooks, and where it had become famous, it was purchased in 1901 for the City of Rome, as the Ludovisi collection was dispersed and the Villa's ground built over at the end of the 19th century.
The classical sculptures in the Farnese Collection, one aspect of this large art collection, are one of the first collections of artistic items from Greco-Roman antiquity. It includes some of the most influential classical works, including the sculptures that were part of the Farnese Marbles, their collection of statuary, which includes world-famous works like the Farnese Hercules, Farnese Cup, Farnese Bull and the Farnese Atlas. These statues are now displayed in the Naples National Archaeological Museum in Italy with some in the British Museum in London.
The Hospital of the Holy Spirit is the oldest hospital in Europe, located in Rome, Italy. It now serves as a convention center. The complex lies in rione Borgo, east of Vatican City and next to the modern Ospedale di Santo Spirito. The hospital was established on the site of the former Schola Saxonum, a part of the complex houses the Museo Storico.
The Palatine Museum is a museum located on the Palatine Hill in Rome. Founded in the second half of the 19th century, it houses sculptures, fragments of frescoes, and archaeological material discovered on the hill.
The Palazzo Massimo alle Terme is the main of the four sites of the Roman National Museum, along with the original site of the Baths of Diocletian, which currently houses the epigraphic and protohistoric section, Palazzo Altemps, home to the Renaissance collections of ancient sculpture, and the Crypta Balbi, home to the early medieval collection.
Preceded by National Etruscan Museum | Landmarks of Rome Museo Nazionale Romano | Succeeded by Museo Storico Nazionale dell'Arte Sanitaria |