Michelangelo to Marforio: Discovering the Capitoline Museums’ Immortal Masterpieces

The Genesis of the World’s Oldest Public Museum

In the year 1471, Pope Sixtus IV made a remarkable gift to the Eternal City—a collection of valuable bronze statues, setting the cornerstone for what would evolve into the world’s oldest public museum, a treasure still accessible in its historical seat at Piazza del Campidoglio.

Capitoline Museums: A Symbiosis of Antiquity and Modernity

Since that pivotal moment, a trove of archaeological wonders and other significant relics, inherently tied to the city of Rome, have found their home within the Capitoline Museums. Now, these museums not only boast their traditional venue but also have branched out to an equally stunning space: the Centrale Montemartini, Rome’s former power plant along Via Ostiense. Here, masterpieces of classical art from the late 1900s have been masterfully juxtaposed against the grandeur of industrial machinery, a testament to the building’s original purpose, still evident even today.

Exploring the Capitoline Hill’s Original Complex

Tracing back to the Capitoline Hill’s original complex, the sheer breadth of the museums suggests various potential paths for exploration. Like any world-class museum, it’s a fantasy to see all the wonders in one go. Yet, certain iconic pieces command attention and are simply unmissable. The journey commences at the Palazzo dei Conservatori, an architectural marvel of the sixteenth century, born from Michelangelo’s visionary design.

First Impressions: The Palazzo dei Conservatori

Upon entering the courtyard, one is immediately struck by the massive remnants of a colossal statue of Emperor Constantine, once gracing the Basilica of Maxentius’s apse in the Forum, which remains a spectacle to behold. Ascending to the first floor, one is enveloped by grand frescoes that bequeath their name to the illustrious Hall of the Horatii and Curiatii, created in the late sixteenth century by Cavalier d’Arpino, drawing inspiration from Rome’s legendary foundations. Adjacent chambers proudly display the original bronzes gifted by Sixtus IV—the enigmatic Capitoline Wolf, the graceful Spinario, and the intriguing male bust known as Brutus.

Connecting Past and Present: The New Wing

Advancing to the new wing, which unites the Palazzo dei Conservatori with Palazzo Caffarelli, visitors can traverse the historical Roman Garden, site of the astounding Temple of Jupiter Optimus Maximus, Rome’s holiest site, to which triumphant generals once flocked, offering thanks to the deities for victories achieved. Here resides the revered equestrian statue of Marcus Aurelius, now sheltered from the elements and vandalism, while its doppelgänger stands proudly in Piazza del Campidoglio.

Artistic Masterpieces: The Capitoline Picture Gallery

Inside the Palazzo dei Conservatori, the Capitoline Picture Gallery awaits, an exquisite assemblage inaugurated by Pope Benedict XIV in the 18th century. Here, one can feast their eyes on masterpieces like Guido Reni’s “Saint Sebastian,” Guercino’s altarpiece for Santa Petronilla, Titian’s “Baptism of Christ,” and Caravaggio’s “The Fortune Teller” and “John the Baptist.”

A Journey Through Time: The Lapidary Gallery to the Palazzo Nuovo

Descending once more, the journey from the Palazzo dei Conservatori plunges underground, through the Lapidary Gallery—keeper of ancient inscriptions—to the Tabularium, the storied Roman state archive, offering a breathtaking panorama of the Roman Forum and the Palatine Hill. The final stop is the Palazzo Nuovo, where a host of sculptures awaits, each with an aura of immortality and a narrative power that leaves onlookers spellbound.

Immortalized Beauty: Sculptures of the Palazzo Nuovo

Notable highlights include the serene Capitoline Venus, the robust Capitoline Amazon, and the emotive Dying Gaul—an antique marvel. And, before departing, pay homage to Marforio, the regal figure adorning the ground floor’s fountain, likely an ancient river god, now famed as one of Rome’s ‘Talking Statues.’ These statues, including Pasquino, once voiced the people’s satirical stabs at authority—wit sharpened by anonymity, with verses attached under the cloak of night, becoming emblems of the populace’s indomitable spirit.