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the living museum
There is no place on earth so rich with culture and arts as the eternal city of Rome ... a vast and splendid living city museum.
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IOnOne LIVE magazine | April 2008 | art | world | living museum | Musei Capitolini The Musei Capitolini date back to 1471, when Pope Sixtus IV donated to the people of Rome a group of bronze statues that until then had been kept at the Lateran. These statues constituted its original core collection. Various popes subsequently expanded the collection with works taken from excavations around Rome; some were moved from the Vatican, some, such as the Albani collection, were bought specifically for the museum. Around the middle of the eighteenth century, Pope Benedict XIV created a picture gallery. A considerable quantity of archaeological material was also added at the end of the nineteenth century when Rome became the capital of Italy and new excavations were carried out whilst creating two completely new districts were created for the expanding city. The Museums' collections are displayed in the two of the three buildings that together enclose the Piazza del Campidoglio: Palazzo dei Conservatori and Palazzo Nuovo, the third being the Palazzo Senatorio. These two buildings are linked by an underground tunnel, which contains the Galleria Lapidaria and leads to the ancient Tabularium, whose monumental arches overlook the Forum. The Palazzo Nuovo houses the collections of ancient sculpture made by the great noble families of the past. Their charming arrangement has remained substantially unchanged since the eighteenth century. They include the famous collections of busts of Roman philosophers and emperors, the statue of Capitoline Gaul, the Capitoline Venus, and the imposing statue of Marforio that dominates the courtyard. The Conservators' Apartment contains the original architectural nucleus of the building, decorated with splendid frescoes portraying the history of Rome. The ancient Capitoline bronzes on display here add to the noble atmosphere: the Capitoline She-wolf, Spinario and the Capitoline Brutus. On the first floor of the palace, a huge glass room, recently built, contains the equestrian statue of Marcus Aurelius, which once stood in the Piazza del Campidoglio, and the imposing remains of the Temple of Capitoline Jupiter. A section is also dedicated to the most ancient part of the Campidoglio's history, from its first inhabitation until the construction of the sacred building, displaying the results of recent excavations. The halls that overlook the room contain works from the Horti of the Esquiline; the hall which connects the room to the apartments of the Palazzo dei Conservatori contains the Castellani collection, testimony to nineteenth century collecting practices. On the second floor, the Capitoline Picture Gallery contains many important works, arranged in chronological order from late mediaeval times to the eighteenth century. The collection includes paintings by Caravaggio (Good Luck and St. John the Baptist), a massive canvas by Guercino (Burial of Saint Petronilla) and numerous paintings by Guido Reni and Pietro da Cortona. The Palazzo Caffarelli-Clementino holds the numismatic collection, known as the Medagliere Capitolino. On display are many rare coins, medals, gems and jewels, as well as an area dedicated to temporary exhibitions. http://en.museicapitolini.org/

The Musei Capitolini date back to 1471, when Pope Sixtus IV donated to the people of Rome a group of bronze statues that until then had been kept at the Lateran. These statues constituted its original core collection ... »
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IOnOne LIVE magazine | April 2008 | art | world | living museum | Markets of Trajan and Trajan's Forum The Museo dei Fori Imperiali located in Mercati di Traiano is topographically and conceptually linked to the greater urban system of the Imperial Forums, that of Caesar (46 B.C.), Augustus (2 B.C.), Templum Pacis, (75 A.D.), Nerva (97 A.D.) and Trajan (112 and 113 A.D.). Dedicated to ancient architecture the museum is the first of its kind. With a reversibility theme in mind, on show are displays of original fragments of decorative features and sculpture, which were found in the Forums. Fragments have been recomposed and integrated with newly cut stone. Exhibits give back to us a perception of the quality and wealth of the Forum’s figurative subject matter, which worked as an imperial propaganda vehicle. Opened in the Autumn of 2007, the Museum is sited in the Great Hall and Central Block of the Mercati di Traiano, which includes the Great Hemicycle section of his Forum. Displays use a mixture of traditional boards and multimedia panels and visitors start their tour in the Great Hall with an introduction to the Forum area and a presentation of each Forum based on the most important finds discovered within it. On the upper level are pieces from Caesar’s Forum and Memory of the Antiquity. In the Central Block are pieces from Augustus’s Forum, which was the model forum used in the Roman Provinces. Built at the same time as Trajan’s Forum, the monumental complex dominated by Mercati di Traiano, which as “rediscovered” from 1926 to 1934, was a multi-functional public work with administrative functions for the Forum. Although rebuilt and transformed over time, it was originally composed of units on six different levels which run in a Great Hemicycle along the base of the Quirinal Hill side. From 2005-2007, the site has been the subject of cutting edge structural and protective restoration. The Museo dei Fori Imperiali houses also temporary exhibitions. http://en.mercatiditraiano.it/

Markets of Trajan and Trajan's Forum The Museo dei Fori Imperiali located in Mercati di Traiano is topographically and conceptually linked to the greater urban system of the Imperial Forums, that of Caesar ... »
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IOnOne LIVE magazine | April 2008 | art | world | living museum | Pompeian red Museo Nazionale di Napoli e a Pompei This exhibition presents a comprehensive survey of the golden age of Roman paintings, from the first century B.C. to the I century A.D.: it shows about a hundred panels of the Collection of the National Archaeological Museum of Naples, all detached from the 18th century from the walls of the buildings of the Veusuvian towns, and the frescoes from the rooms of Moregine and from the Casa del Bracciale d'Oro in Pompei, recently excavated and reassembled in their original dimensions. These works are exposed here together with the permanent collection of the National Roman Museum, which includes the frescoes from the Villa di Livia in Prima Porta, the Villa della Farnesina and the villa di Castel di Guido: a unique occasion for comparing the Roman production to the Campanian one. The Pompeian painting, usually considered as the expression par excellence of the Roman painting owes its fortune to the Vesuvian eruption of AD 79, which interrupted the life of the towns obstructing its resumption. In Rome, the continuity of life produced the superimposition of different building phases and influenced the archaeological research, restricting it to the paintings of the imperial residences, whose high level was obviously connected to the patrons’ prestige. As the other artistic creations, Roman painting too was strongly influenced by the Greek art, known by the circulation of cartoons, which favoured the creation of many copies of the most famous works: directly made on the walls, they were inserted in an articled decorative system in order to recreate the original paintings gallery. This way, homes became the direct expression of the tendency to resemble the life style of the Hellenistic kings. This display of this new life style, completely charmed by the Greek culture, could express more freely in the Campanian towns, while in Rome, the duties of the public life imposed a most rigorous behaviour on the aristocracy. All the works coming from the Archaeological Museum of Naples, conserving a unique collection composed by 4500 panels, are framed as paintings: the archaeological methods of the excavations begun with Carlo Borbone, king of Naples in 1734, used in fact to detach from the entire wall painting just the part considered as most precious. This way, the frescoes reproduced on the walls, were transformed in pictures like the ones framed and hung up on the Greek galleries. http://archeoroma.beniculturali.it/it/node/312

Pompeian red
This exhibition presents a comprehensive survey of the golden age of Roman paintings, from the first century B.C. to the I century A.D.: it shows about a hundred panels of the Collection ... »
art | world | Pompeian red »

IOnOne LIVE magazine | April 2008 | art | world | living museum | The Altar of Peace The Museum of the Altar of Peace is the first architectural work to have been built in the historic centre of Rome from the fall of Fascism until the present day. The project was carried out by Richard Meier and Partners Architects, who have designed several of the most noteworthy museums of the second half of the twentieth century. The Altar of Peace is one of the finest examples of classical art. The Roman Senate voted for its construction in 13 B.C., to honour Augustus' return from the Provinces of France and Spain, where the emperor had been for the previous three years, consolidating both his own personal power and that of Rome, creating new roads and founding colonies. The altar was built next to the Via Flaminia, at the northernmost edge of the Field of Mars, but the alluvial nature of the ground and the repeated flooding of the Tiber, leaving layers of lime across the area, meant that the Altar was soon buried, and its memory lost completely. The bimillenium of Augustus? birth fell in 1937/8 and the decision was taken to rehabilitate the monument. The project was entrusted to the archaeologist Giuseppe Moretti, and was achieved in the summer of 1938, inside a pavilion on the Via di Ripetta, built in great haste and based on a design by the architect Ballio Morpurgo. The combination of its position on the Lungotevere and the inadequacy of the building it was housed in put the Altar of Peace at risk: it could not be protected from damage from traffic, exhaust gases, overheating, rising humidity and, finally, the oily and acidic dust which was being deposited on the marble and plaster surfaces. The new museum complex has therefore been designed with a view to the monument?s conservation as well as to the atmosphere it creates. It also includes an anti-earthquake system. http://en.museiincomuneroma.it/ne_fanno_parte/museo_dell_ara_pacis

The Altar of Peace
is the first architectural work to have been built in the historic centre of Rome from the fall of Fascism until the present day. The project was carried out by Richard Meier ... »
art | world | The Altar of Peace »

IOnOne LIVE magazine | April 2008 | art | world | living museum | Imperial Forums Imperial Forums, one of the largest areas in the world where digging, research and studies are still under way. It is here that the Roman civilisation began and evolved throughout the centuries . As Italian nationals and as citizens and administrators of Rome, we have the mission of preserving and disseminating knowledge of these records of the past. But this is not the heritage of a single city or nation; it is the heritage of mankind. Now, thanks to state-of-the-art communication technologies, this wealth can be brought to the fruition of the entire world. http://www.capitolium.org/english.htm

Imperial Forums
one of the largest areas in the world where digging, research and studies are still under way. It is here that the Roman civilisation began and evolved throughout the centuries ... »
art | world | Imperial Forums »

IOnOne LIVE magazine | April 2008 | art | world | living museum | Vatican Museums The Vatican Museums originated as a group of sculptures collected by Pope Julius II (1503-1513) and placed in what today is the Cortile Ottagono within the museum complex. The popes were among the first sovereigns who opened the art collections of their palaces to the public thus promoting knowledge of art history and culture. As seen today, the Vatican Museums are a complex of different pontifical museums and galleries that began under the patronage of the popes Clement XIV (1769-1774) and Pius VI (1775-1799). In fact, the Pio-Clementine Museum was named after these two popes, who set up this first major curatorial section. Later, Pius VII (1800-1823) considerably expanded the collections of Classical Antiquities, to which he added the Chiaromonti Museum and the “Braccio Nuovo” gallery. He also enriched the Epigraphic Collection, which was conserved in the Lapidary Gallery. http://mv.vatican.va/3_EN/pages/z-Info/MV_Info_NotizieStoriche.html

The Vatican Museums
originated as a group of sculptures collected by Pope Julius II (1503-1513) and placed in what today is the Cortile Ottagono within the museum complex. The popes were among the ... »
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IOnOne LIVE magazine | April 2008 | art | world | living museum The Musei Capitolini The Musei Capitolini
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