50 Eurocents - Capitolium Square

The Capitolium is the smallest among Rome's famous seven hills, yet the most important one, because the very first nucleus of the city was born here, encircled by a primitive defensive wall, to protect the early inhabitants from hostile tribes that dwelt on the surrounding hills. Its top has a double summit: the tallest of the two peaks is located slightly west of the present square, while the other one, almost adjacent to the square's opposite side, corresponds to the site of the ancient church called Santa Maria d'Aracoeli. The social and religious importance of the Capitolium Hill kept growing, particularly during the Republican Age. A number of temples were built here, among which the one dedicated to Jupiter, Juno and Minerva, standing on the highest spot of the hill, was considered Rome's most sacred place of worship: among the several hundreds that were found in the ancient city, it acted as a cathedral.

The Capitolium is the smallest among Rome's famous seven hills, yet the most important one, because the very first nucleus of the city was born here, encircled by a primitive defensive wall, to protect the early inhabitants from hostile tribes that dwelt on the surrounding hills.
Its top has a double summit: the tallest of the two peaks is located slightly west of the present square, while the other one, almost adjacent to the square's opposite side, corresponds to the site of the ancient church called Santa Maria d'Aracoeli.

The social and religious importance of the Capitolium Hill kept growing, particularly during the Republican Age. A number of temples were built here, among which the one dedicated to Jupiter, Juno and Minerva, standing on the highest spot of the hill, was considered Rome's most sacred place of worship: among the several hundreds that were found in the ancient city, it acted as a cathedral.

		The hill overlooks the area where the Roman Forum stood; in ancient times its top could be accessed from the same side, i.e. looking south (opposite to the present approach), which used to be less steep than now. During the Middle Ages, when the temples had crumbled and almost every trace of the ancient Roman civilization had disappeared from this site, the Capitolium was nicknamed Monte Caprino ("goat hill"), after the custom of grazing goats and other animals all over the place. However, in the 7th century the first church of Santa Maria d'Aracoeli was founded there. Before the making of Senators Palace (see further), this church acted as a town hall: the city administrators gathered in it, and on its left side, facing the present Capitolium Square, executions were also held. The church was rebuilt in c.1320 into its present shape, while its steep marble staircase with 122 steps was built for the Jubilee Year of 1350.

The hill overlooks the area where the Roman Forum stood; in ancient times its top could be accessed from the same side, i.e. looking south (opposite to the present approach), which used to be less steep than now.
During the Middle Ages, when the temples had crumbled and almost every trace of the ancient Roman civilization had disappeared from this site, the Capitolium was nicknamed Monte Caprino ("goat hill"), after the custom of grazing goats and other animals all over the place. However, in the 7th century the first church of Santa Maria d'Aracoeli was founded there. Before the making of Senators Palace (see further), this church acted as a town hall: the city administrators gathered in it, and on its left side, facing the present Capitolium Square, executions were also held. The church was rebuilt in c.1320 into its present shape, while its steep marble staircase with 122 steps was built for the Jubilee Year of 1350.

The first important civil building to stand again here was Palazzo Senatorio (Senators Palace), built in the 12th century over the remains of the Tabularium, ancient Rome's state archive (right). The latter was located at the northern end of the Roman Forum; it had been meanwhile turned into a salt deposit, and then into a jail. Of its original six tall arches that overlook the Forum, only three are still open: in the early 1400s pope Martin V had half of them filled up, to prevent the outer wall from crumbling under the weight of the building above. Palazzo Senatorio was built as a seat for the new board of officers called Senators, founded in 1143-44, which took away from the pope the authority over the city's administrative affairs. The building was still partly conceived as a fortress, with towers in three out of its four corners, built between the late 1300s and the mid 1400s, besides the central one. But its front was already turned to the north, i.e. looking towards the square, whereas the old Tabularium looked towards the Roman Forum, at the back of the palace.

The first important civil building to stand again here was Palazzo Senatorio (Senators Palace), built in the 12th century over the remains of the Tabularium, ancient Rome's state archive (right). The latter was located at the northern end of the Roman Forum; it had been meanwhile turned into a salt deposit, and then into a jail. Of its original six tall arches that overlook the Forum, only three are still open: in the early 1400s pope Martin V had half of them filled up, to prevent the outer wall from crumbling under the weight of the building above.
Palazzo Senatorio was built as a seat for the new board of officers called Senators, founded in 1143-44, which took away from the pope the authority over the city's administrative affairs.
The building was still partly conceived as a fortress, with towers in three out of its four corners, built between the late 1300s and the mid 1400s, besides the central one. But its front was already turned to the north, i.e. looking towards the square, whereas the old Tabularium looked towards the Roman Forum, at the back of the palace.

		Instead opposite Palazzo dei Banderesi, the square was bare (picture on the left); it adjoined the side of the medieval church of Santa Maria d'Aracoeli and its convent by means of a short flight of steps. Up to 1535, by the staircase stood a small ancient Egyptian obelisk, topped by a bronze globe (far right end of the drawing), whose description and relocation are described in the Obelisks monograph. No building appeared on this spot until the 17th century. Capitolium Square began to achieve its present look during the frst half of the 1500s, when Michelangelo was asked to draw a new plan for the site; the picture below features the spot around 1542-43, while the aforesaid works were still in progress.

Instead opposite Palazzo dei Banderesi, the square was bare (picture on the left); it adjoined the side of the medieval church of Santa Maria d'Aracoeli and its convent by means of a short flight of steps. Up to 1535, by the staircase stood a small ancient Egyptian obelisk, topped by a bronze globe (far right end of the drawing), whose description and relocation are described in the Obelisks monograph. No building appeared on this spot until the 17th century.

Capitolium Square began to achieve its present look during the frst half of the 1500s, when Michelangelo was asked to draw a new plan for the site; the picture below features the spot around 1542-43, while the aforesaid works were still in progress.

Palazzo Senatorio under reconstruction, lacking its new right half. The central tower of the building still had a medieval shape. The left half of the staircase was almost finished. Palazzo dei Banderesi, altered during the second half of the 1500s, and renamed P. dei Conservatori. The statue for the right half of the staircase, temporarily parked on one side of the square. The statue of Marcus Aurelius, which had been moved here from the Lateran. The left side of the square was still bare; the making of Palazzo Nuovo only started in 1644.

Palazzo Senatorio under reconstruction, lacking its new right half.
The central tower of the building still had a medieval shape.
The left half of the staircase was almost finished.
Palazzo dei Banderesi, altered during the second half of the 1500s, and renamed P. dei Conservatori.
The statue for the right half of the staircase, temporarily parked on one side of the square.
The statue of Marcus Aurelius, which had been moved here from the Lateran.
The left side of the square was still bare; the making of Palazzo Nuovo only started in 1644.

	A new Palazzo Senatorio was built, by enlarging and refurbishing the medieval one, according to a project drawn by the famous artist and architect, although after his death, while the works were still in progress, some changes were made by architects Giacomo Della Porta and Girolamo Rainaldi, who completed the building in 1605. The double staircase on the front is the only original part entirely consistent with Michelangelo's original drawings. He is also the author of the long flight of stairs leading to the square from below, which climbs to the top of the hill along its northern side, opposite the Forum's area: during the Renaissance, the districts north of the Capitolium had become once again inhabited, giving reason for this choice. Michelangelo had also drawn a geometric pattern for the square's pavement, but this part of his project was set aside. Only during the early 1940s, i.e. four centuries later, Rome's Municipality retrieved Michelangelo's original plan, and finally paved the square with the famous oval pattern.

aerial view of the Capitolium Square's pattern

A new Palazzo Senatorio was built, by enlarging and refurbishing the medieval one, according to a project drawn by the famous artist and architect, although after his death, while the works were still in progress, some changes were made by architects Giacomo Della Porta and Girolamo Rainaldi, who completed the building in 1605. The double staircase on the front is the only original part entirely consistent with Michelangelo's original drawings.
He is also the author of the long flight of stairs leading to the square from below, which climbs to the top of the hill along its northern side, opposite the Forum's area: during the Renaissance, the districts north of the Capitolium had become once again inhabited, giving reason for this choice.
Michelangelo had also drawn a geometric pattern for the square's pavement, but this part of his project was set aside. Only during the early 1940s, i.e. four centuries later, Rome's Municipality retrieved Michelangelo's original plan, and finally paved the square with the famous oval pattern.

Pope Paul III (1534-49) decided to embellish the refurbished site with the famous bronze statue of emperor Marcus Aurelius; the Roman monument was still in the Lateran grounds near St.John's basilica, more or less on the spot where today stands the Lateran obelisk. Despite this choice displeased Michelangelo, in 1538 the statue was moved to the top of Capitolium Hill.
Some pictures depict the mounted statue in its original location, among which a famous late 1400s fresco by Filippino Lippi in the church of Santa Maria sopra Minerva and an early 1500s drawing by Maartens van Heemskerck (below); also a few late medieval maps of Rome clearly locate it near St.John's church.

In the middle of Capitolium Square, the statue was rested on a high stand drawn by Michelangelo, as well. It features the mounted emperor in the attitude of speaking to the people, although others believe that his stretched arm is a gesture of mercy upon the figure of a war prisoner that may have originally lain below the horse's raised hoof, but went lost. Marcus Aurelius (AD 161-180)is remembered as one of Rome's most enlightened and cultured rulers, known as the 'philosopher emperor' for his interest in this field; he is one of the very few emperors who completely disregarded gladiator games, preferring his readings, although he is also remembered for his victorious military campaigns against the barbarian populations who lived in present Moravia (the Marcomans), Bohemia (the Quads) and Ukraine (the Sarmatians).

In the middle of Capitolium Square, the statue was rested on a high stand drawn by Michelangelo, as well.
It features the mounted emperor in the attitude of speaking to the people, although others believe that his stretched arm is a gesture of mercy upon the figure of a war prisoner that may have originally lain below the horse's raised hoof, but went lost. Marcus Aurelius (AD 161-180)is remembered as one of Rome's most enlightened and cultured rulers, known as the 'philosopher emperor' for his interest in this field; he is one of the very few emperors who completely disregarded gladiator games, preferring his readings, although he is also remembered for his victorious military campaigns against the barbarian populations who lived in present Moravia (the Marcomans), Bohemia (the Quads) and Ukraine (the Sarmatians).

Michelangelo's staircase, in an 18th century etching by G.B.Piranesi,
with the church of Santa Maria d'Aracoeli on the left;
today the view of this spot appears basically unchanged

	But during the Middle Ages this statue was believed to feature Constantine I, a.k.a. the Great. Since he was the most celebrated emperor by the Church of Rome, having freed Christianity from its condition of underground religion, the mistaken identity enabled the bronze statue to remain well preserved, whereas most other images of pagan emperors were destroyed due to religious fanatism. Originally, Marcus Aurelius' statue was gilded. The golden layer came off in a short time (some parts were likely stolen); very soon, only a few patches of the precious metal were left in place. However, for a long time the people believed that the statue had been originally made of gold and covered with a bronze layer, and that the golden patches were due to the layer gradually coming off.

Marcus Aurelius' statue (presently, a faithful copy)

But during the Middle Ages this statue was believed to feature Constantine I, a.k.a. the Great.
Since he was the most celebrated emperor by the Church of Rome, having freed Christianity from its condition of underground religion, the mistaken identity enabled the bronze statue to remain well preserved, whereas most other images of pagan emperors were destroyed due to religious fanatism.
Originally, Marcus Aurelius' statue was gilded. The golden layer came off in a short time (some parts were likely stolen); very soon, only a few patches of the precious metal were left in place. However, for a long time the people believed that the statue had been originally made of gold and covered with a bronze layer, and that the golden patches were due to the layer gradually coming off.

		This belief inspired a famous legend, according to which on the day the statue would have turned completely gold, the 'owl' on the horse's head (actually, a tuft of hair mistaken for a bird, shown in the picture on the right), would have sung, and the city of Rome - thus the whole world - would have come to an end. Obviously, this never happened. But in recent times a dangerous threat to Marcus Aurelius and his horse was caused by air pollution: in the late 1980s the original statue (detail on the right) had to be carefully restored, given an indoor location, and replaced by a faithful copy, which now stands in the square.

Besides the mounted emperor, other statues were moved from their original location for decorating the baluster that runs on both sides at the top of the staircase leading to the square.

		The first two personages on either side are the two Dioscuri, i.e. the twin sons of Jupiter, Castor and Pollux, each one leading his own horse; they were unearthed by the house of the Cenci family (see the Legendary Rome section). Then two smaller groups featuring war trophies, in the shape of shields and weapons taken away from the enemies, come from the ancient fountain or nymphaeum located where today stretches piazza Vittorio Emanuele II (see the Fountains monograph). On their sides stand the statues of two emperors of the late imperial age, Constantine I (right) and his son Constant II (left), both 4th century, coming from the Baths of Constantine (see There once was in Rome... section). Finally, two columns coming from the ancient Appian Way, where they acted as milestones; they bear inscriptions by emperors Vespasian and Nerva (late 1st century AD).

		When by the end of the 16th century the ancient aqueducts were fixed and reopened, the square could be finally reached by running water, and the two huge statues set by Michelangelo below the staircase of Palazzo Senatorio were turned into a fountain, whose double basin was then added. The statues had been taken from the ruins of the baths of Constantine, and represent two rivers: the Nile (on the left) and the Tygris, which bore a small distinctive statue of a sphynx and a tiger, respectively. But not to leave the square without a reference to the city's own river, the head of the tiger was chiselled off and replaced with that of Rome's she-wolf and a pair of twins. So the statue is now officially 'the Tiber'. In modern times, Palazzo Senatorio was chosen to be Rome's Town Hall, in acknowledgement of the great importance that the Capitolium Hill had for the city in the past.

This square is also the site of the Capitoline Museums, which claim to be the most ancient public collection of antiquities in the world. They were opened to the public around 1735, but the first specimens had been acquired much earlier by Sixtus IV (1471-84), one of the earliest popes who showed an interest towards ancient remains; his collection of bronze statues included the famous Etruscan 'She-wolf' (right, to whom in the late 1400s Antonio Pollaiolo added the two twins) and the 'Boy With Thorn' (below right), which he had moved from the Lateran. The pope then gave his antiquities to the City Council, as a token of friendship towards Rome's administrators, thus marking the origin of the Museums.

		The Capitoline Museums are housed in the twin buildings that face each other on the two sides of the square. The one on the right (west) is Palazzo dei Conservatori, the seat of the city's Curators, started by Giacomo Della Porta in 1563, by altering the mid 15th century Palazzo dei Banderesi that stood there already. The building on the opposite side is Palazzo Nuovo (New Palace) started in 1644 by Girolamo Rainaldi.

A modern underground passage, which is part of the museum, connects the two buildings and the remains of the ancient Tabularium.

'Boy with Thorn', another famous exhibit
of the collection

Capitolium Square belongs to the 10th historical district, Rione X, Campitelli, described in the relevant page of The Rioni section.