41.90150, 12.49858 one-third of the way from the Termini metro stop to the Repubblica metro stop
Metro::
Termini
Time::
2 hours
Cost::
€10, includes admission to the other three buildings of the National Museum of Rome
Hours::
Tuesday - Sunday, 9:00 AM - 7:45 PM
Audio Guide::
Yes, for €5
The Palazzo Massimo is one of the four buildings which are part of the National Museum of Rome, along with Terme di Diocleziano, Palazzo Altemps and Crypta Balbi. Palazzo Massimo houses Greek and Roman sculptures (the world's most important collection of Classical art), a huge collection of frescoed walls and mosaics from prestigious Roman dwellings, and a large coin collection. Highlights include the Boxer, the Discus Thrower, and the frescoed walls from the villa of Livia, wife of Augustus, frescoed between 30 BC and 20 BC.
The Palazzo Massimo was built between 1883 and 1887 on behalf of the Jesuit father Massimiliano Massimo (what a great name!), last member of the family that owned the land taken to build the Termini railroad station. The state acquired the palace in 1981 for the museum. The ground floor opened to the public in 1995, and the other floors opened in 1998.
The ground floor contains works dating from the late-Republican era and the Julio-Claudian dynasty. The first of those works can be seen as soon as you leave the ticket office and enter the Minerva Room to find a colossal statue of a seated goddess Minerva (Greek Athena) that was found on the Aventine Hill. Her face and neck were lost and replaced here by a plaster cast of a famous statue of Minerva, however it is thought that the statue was originally actually of Magna Mater-Cybele, a goddess who protected Rome from the time of the Second Punic War. The use of different colored marbles links it to the Greek statues in gold and ivory made by Phidias in the second half of the 5th century BC, though this statue is probably from the Augustan period, 43 BC to 18 AD.
Statue of Minerva sitting, dressed in a chiton, from the Augustan period, in the Minerva Room of the National Museum of Rome, Palazzo Massimo. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpenga. This statue was probably from the Temple of Minerva on the Aventine, and bears the hallmarks of the second half of the 5th century BC Greek statues by Phidias. See all National Museum of Rome - Palazzo Massimo photos.
Statue of Minerva sitting, dressed in a chiton, from the Augustan period, in the Minerva Room of the National Museum of Rome, Palazzo Massimo. The face and neck, now lost, have been substituted by a plaster cast of the Athena Carpenga. This statue was probably from the Temple of Minerva on the Aventine, and bears the hallmarks of the second half of the 5th century BC Greek statues by Phidias. See all National Museum of Rome - Palazzo Massimo photos.
Gallery 1 features people of the late-Republican period, including the funeral monument from the Appian Way shown below.
Room 1 features this statue of an elderly person with a young, nude body. The statue was found in the sanctuary of Hercules Victor in Tivoli, and dated to the beginning of the 1st century BC probably was meant to honor one of Sulla's lieutenants. The 2nd photo below from Room 1 is of the oldest known Roman calendar.
Heroic sculpture of one of Sulla's lieutenants in Tivoli, from between 90 and 70 BC, in Room 1 of the National Museum of Rome, Palazzo Massimo. Members of the Roman ruling class at this time had a strong political need of self-representation, and the authoritarian stance of the young nude body of this elderly person evoked power. See all National Museum of Rome - Palazzo Massimo photos.
Room 2 features the Fasti Praenestini. In ancient Rome, the term fasti was used for the calendar created by the high priest (Pontifex Maximus) and exhibited in a public place, in order to regulate the life of the citizens. It indicated the dies fasti, the days in which certain activities were permitted, and the dies nefasti, the days on which certain activities were not allowed. Here is displayed the richest Roman calendar that has been preserved to us. It was composed between 6 and 10 AD, during the reign of Augustus, by Verrius Flaccus. The fragments of this calendar (1st photo below), discovered in 1769-1771, were displayed in a home until 1902 when they were donated to the National Museum of Rome.
According to a tradition already in use at the time of the early monarchy, the Romans counted the days of the month in relationship to the phases of the moon. The Calends, Kalendae (K), or the first day of the month, corresponded to the appearance of the first sickle-shaped phase of the moon; the Ides, Eidus (EI), between the 13th and the 15th of the month, to the day of the full moon, the Nones or Nonae (N), or nine days before the Ides, to the fourth quarter of the moon.
The Julian calendar presrved this counting system, but without its original relationship to the lunar phases.
After each number, the calendar gives the nota dierum, or the nature of the days, divided among the fasti (F), nefasti (N), endotercisi, favorable only in the central hours (EN), and comitiales, days for assemblies (C).
The letters of the alphabet from A to H, on the left, indicate a sequence of eight days (mondinae), which would soon take the function of our days of the week. The close-up in the 2nd photo below shows that January 30th, day F out of H, in the nefasti was the anniversary of the dedication of the Ara Pacis Augustae, which took place in 9 BC.
Closeup of the Roman calendar (Fasti Praenestini) from 6-10 AD, in Room 2 of the Palazzo Massimo. January 30th, day F out of H. in the nefasti, was the anniversary of the dedication of the Ara Pacis Augustae, which took place in 9 BC. See all National Museum of Rome - Palazzo Massimo photos.
Gallery 2, Room 4 and Room 5 are devoted to the early Imperial era, and the members of the Julio-Claudian Dynasty.
Altar to Mars and Venus found in Ostia dating from 98-132 AD, left side from this angle showing the she-wolf nursing Romulus and Remus, a personification of the river Tiber to their right, and two fleeing shepherds above them, probably Faustulus, adoptive father of the twins, and his brother Faustinus, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Altar to Mars and Venus found in Ostia dating from 98-132 AD, the left side from this angle showing the god Mars, ancestor of Romulus and of all the Roman People, alongside the goddess Venus, mother of Aeneas and of the gens Julia, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Altar to Mars and Venus found in Ostia dating from 98-132 AD, this detail showing the she-wolf nursing Romulus and Remus, a personification of the river Tiber to their right, and two fleeing shepherds above them, probably Faustulus, adoptive father of the twins, and his brother Faustinus, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Altar to Mars and Venus found in Ostia dating from 98-132 AD, this side showing the she-wolf nursing Romulus and Remus, a personification of the river Tiber to their right, and two fleeing shepherds above them, probably Faustulus, adoptive father of the twins, and his brother Faustinus, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Augustus of Via Labicana, from the last decade of the 1st century BC, a portrait of Augustus in his role as Pontifex Maximus, sacred leader of Rome that he assumed in 12 BC and was the right of the Emperor until the 4th century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Augustus of Via Labicana, from the last decade of the 1st century BC, a portrait of Augustus in his role as Pontifex Maximus, sacred leader of Rome that he assumed in 12 BC and was the right of the Emperor until the 4th century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Augustus of Via Labicana, from the last decade of the 1st century BC, a portrait of Augustus in his role as Pontifex Maximus, sacred leader of Rome that he assumed in 12 BC and was the right of the Emperor until the 4th century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Augustus of Via Labicana, from the last decade of the 1st century BC, a portrait of Augustus in his role as Pontifex Maximus, sacred leader of Rome that he assumed in 12 BC and was the right of the Emperor until the 4th century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Gallery 3 contains more portraits of the Roman era and Greek portraits, and a 1st-century BC floor mosaic of a cat catching a bird, and two ducks.
Bronze portrait of Alexander the Great (356-323 BC), from the 2nd century AD, in Gallery III of the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Bronze portrait of Alexander the Great (356-323 BC), from the 2nd century AD, in Gallery III of the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Bronze portrait of Alexander the Great (356-323 BC), from the 2nd century AD, in Gallery III of the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Floor mosaic from the triclinium (dining room) of a Roman villa from the first quarter of the 1st century BC, featuring a central panel with micro tesserae showing a cat trying to catch a bird in flight and two ducks, one of which is holding a lotus flower in its beak, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Floor mosaic from the triclinium (dining room) of a Roman villa from the first quarter of the 1st century BC, featuring a central panel with micro tesserae showing a cat trying to catch a bird in flight and two ducks, one of which is holding a lotus flower in its beak, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Room 6 contains the Niobide Stautes from the Gardens of the Sallust.
The wounded female figure, a Greek original from the 5th century BC found in the Gardens of Sallust, whose back has been struck by an arrow, is one of the fourteen children of the legendary Niobe who were all shot with arrows by Apollo and Artemis, now in the National Museum of Rome, Palazzo Massimo. Two other Niobids are in the Ny Carlsberg Glyptotheck Museum in Copenhagen. Originally these were all part of a pedemental group which decorated the facade of a Greek temple. See all National Museum of Rome - Palazzo Massimo photos.
The wounded female figure, a Greek original from the 5th century BC found in the Gardens of Sallust, whose back has been struck by an arrow, is one of the fourteen children of the legendary Niobe who were all shot with arrows by Apollo and Artemis, now in the National Museum of Rome, Palazzo Massimo. Two other Niobids are in the Ny Carlsberg Glyptotheck Museum in Copenhagen. Originally these were all part of a pedemental group which decorated the facade of a Greek temple. See all National Museum of Rome - Palazzo Massimo photos.
Room 7 contains two very famous bronzes which are two highlights of the museum and should not be missed: the heroic nude figure of the so-called Prince, and the Boxer at Rest. They were produced with the lost wax process and were found together in 1885 on the southern slope of the Quirinal Hill, during the construction of the Teatro Drammatico Nazionale in the area originally occupied by the Baths of Constantine. Constantine was emperor from 306-337 AD. In 315 AD he ordered construction of a grand thermal complex on the slopes of the Quirinal Hill, in an area between present day Via XXIV Maggio, Piazza del Quirinale, Via Della Consulta and Via Nazionale. Both of these bronze statues were brought into Rome from Greece as decorative works of art for the Baths. The seated figure is clearly an athlete at rest after a boxing match, while it is not possible to identify precisely the standing figure of the so-called Prince.
A Hellenistic prince in bronze from the 2nd century BC, one of the few that have come down to us today, in the National Museum of Rome, Palazzo Massimo. The figure derives from the famous statue of Alexander the Great by Lysippus (371-305 BC), and is generally considered an early portrait of Attalus II, king of Pergamon. See all National Museum of Rome - Palazzo Massimo photos.
A Hellenistic prince in bronze from the 2nd century BC, one of the few that have come down to us today, in the National Museum of Rome, Palazzo Massimo. The figure derives from the famous statue of Alexander the Great by Lysippus (371-305 BC), and is generally considered an early portrait of Attalus II, king of Pergamon. See all National Museum of Rome - Palazzo Massimo photos.
A Hellenistic prince in bronze from the 2nd century BC, one of the few that have come down to us today, in the National Museum of Rome, Palazzo Massimo. The figure derives from the famous statue of Alexander the Great by Lysippus (371-305 BC), and is generally considered an early portrait of Attalus II, king of Pergamon. See all National Museum of Rome - Palazzo Massimo photos.
The Boxer at Rest, seated on a boulder (a modern addition that replicates the ancient original), resting after a boxing match. The only sign that he's a boxer is that his hands are covered by leather gloves that bind the four fingers, leaving the thumbs free, which continue up onto his forearms, and are bordered by a fur lining. Then a closer look at his face shows that his cheek has a gash and there's a lump on his forehead, just below his hairline, from a recent pummeling, but no wounds appear on the body since ancient boxing practices made the face the main target. It becomes obvious that this man is rather old since his misshapen ears and multiply-broken nose suggest he's spent many years in the ring. His dejected look suggests that he's questioning why he continues going into the ring as the end of his career looms near. This original Greek bronze from 330 BC - 50 BC, is one of the most realistic of all ancient Greek sculptures, and is one of the most touching and emotive works of art from that period, reminding us that the pain and difficulties of human life are universal and beyond the bounds of time. A series of marks on the straps above the left ring finger seem to be the signature of the Athenian sculpture Apollonios, son of Nestor, who was active during the 1st century BC, and inspired by the stule of the Greek sculpture Lysippus. It is now located in the National Museum of Rome, Palazzo Massimo. It was found in the gardens of Rome’s Quirinale Palace in 1885 after having been intentionally buried there centuries earlier, perhaps by people trying to insure it wouldn't be melted down. See all National Museum of Rome - Palazzo Massimo photos.
The Boxer at Rest, seated on a boulder (a modern addition that replicates the ancient original), resting after a boxing match. The only sign that he's a boxer is that his hands are covered by leather gloves that bind the four fingers, leaving the thumbs free, which continue up onto his forearms, and are bordered by a fur lining. Then a closer look at his face shows that his cheek has a gash and there's a lump on his forehead, just below his hairline, from a recent pummeling, but no wounds appear on the body since ancient boxing practices made the face the main target. It becomes obvious that this man is rather old since his misshapen ears and multiply-broken nose suggest he's spent many years in the ring. His dejected look suggests that he's questioning why he continues going into the ring as the end of his career looms near. This original Greek bronze from 330 BC - 50 BC, is one of the most realistic of all ancient Greek sculptures, and is one of the most touching and emotive works of art from that period, reminding us that the pain and difficulties of human life are universal and beyond the bounds of time. A series of marks on the straps above the left ring finger seem to be the signature of the Athenian sculpture Apollonios, son of Nestor, who was active during the 1st century BC, and inspired by the stule of the Greek sculpture Lysippus. It is now located in the National Museum of Rome, Palazzo Massimo. It was found in the gardens of Rome’s Quirinale Palace in 1885 after having been intentionally buried there centuries earlier, perhaps by people trying to insure it wouldn't be melted down. See all National Museum of Rome - Palazzo Massimo photos.
The Boxer at Rest, seated on a boulder (a modern addition that replicates the ancient original), resting after a boxing match. The only sign that he's a boxer is that his hands are covered by leather gloves that bind the four fingers, leaving the thumbs free, which continue up onto his forearms, and are bordered by a fur lining. Then a closer look at his face shows that his cheek has a gash and there's a lump on his forehead, just below his hairline, from a recent pummeling, but no wounds appear on the body since ancient boxing practices made the face the main target. It becomes obvious that this man is rather old since his misshapen ears and multiply-broken nose suggest he's spent many years in the ring. His dejected look suggests that he's questioning why he continues going into the ring as the end of his career looms near. This original Greek bronze from 330 BC - 50 BC, is one of the most realistic of all ancient Greek sculptures, and is one of the most touching and emotive works of art from that period, reminding us that the pain and difficulties of human life are universal and beyond the bounds of time. A series of marks on the straps above the left ring finger seem to be the signature of the Athenian sculpture Apollonios, son of Nestor, who was active during the 1st century BC, and inspired by the stule of the Greek sculpture Lysippus. It is now located in the National Museum of Rome, Palazzo Massimo. It was found in the gardens of Rome’s Quirinale Palace in 1885 after having been intentionally buried there centuries earlier, perhaps by people trying to insure it wouldn't be melted down. See all National Museum of Rome - Palazzo Massimo photos.
The Boxer at Rest, seated on a boulder (a modern addition that replicates the ancient original), resting after a boxing match. The only sign that he's a boxer is that his hands are covered by leather gloves that bind the four fingers, leaving the thumbs free, which continue up onto his forearms, and are bordered by a fur lining. Then a closer look at his face shows that his cheek has a gash and there's a lump on his forehead, just below his hairline, from a recent pummeling, but no wounds appear on the body since ancient boxing practices made the face the main target. It becomes obvious that this man is rather old since his misshapen ears and multiply-broken nose suggest he's spent many years in the ring. His dejected look suggests that he's questioning why he continues going into the ring as the end of his career looms near. This original Greek bronze from 330 BC - 50 BC, is one of the most realistic of all ancient Greek sculptures, and is one of the most touching and emotive works of art from that period, reminding us that the pain and difficulties of human life are universal and beyond the bounds of time. A series of marks on the straps above the left ring finger seem to be the signature of the Athenian sculpture Apollonios, son of Nestor, who was active during the 1st century BC, and inspired by the stule of the Greek sculpture Lysippus. It is now located in the National Museum of Rome, Palazzo Massimo. It was found in the gardens of Rome’s Quirinale Palace in 1885 after having been intentionally buried there centuries earlier, perhaps by people trying to insure it wouldn't be melted down. See all National Museum of Rome - Palazzo Massimo photos.
The Boxer at Rest, seated on a boulder (a modern addition that replicates the ancient original), resting after a boxing match. The only sign that he's a boxer is that his hands are covered by leather gloves that bind the four fingers, leaving the thumbs free, which continue up onto his forearms, and are bordered by a fur lining. Then a closer look at his face shows that his cheek has a gash and there's a lump on his forehead, just below his hairline, from a recent pummeling, but no wounds appear on the body since ancient boxing practices made the face the main target. It becomes obvious that this man is rather old since his misshapen ears and multiply-broken nose suggest he's spent many years in the ring. His dejected look suggests that he's questioning why he continues going into the ring as the end of his career looms near. This original Greek bronze from 330 BC - 50 BC, is one of the most realistic of all ancient Greek sculptures, and is one of the most touching and emotive works of art from that period, reminding us that the pain and difficulties of human life are universal and beyond the bounds of time. A series of marks on the straps above the left ring finger seem to be the signature of the Athenian sculpture Apollonios, son of Nestor, who was active during the 1st century BC, and inspired by the stule of the Greek sculpture Lysippus. It is now located in the National Museum of Rome, Palazzo Massimo. It was found in the gardens of Rome’s Quirinale Palace in 1885 after having been intentionally buried there centuries earlier, perhaps by people trying to insure it wouldn't be melted down. See all National Museum of Rome - Palazzo Massimo photos.
The Boxer at Rest, seated on a boulder (a modern addition that replicates the ancient original), resting after a boxing match. The only sign that he's a boxer is that his hands are covered by leather gloves that bind the four fingers, leaving the thumbs free, which continue up onto his forearms, and are bordered by a fur lining. Then a closer look at his face shows that his cheek has a gash and there's a lump on his forehead, just below his hairline, from a recent pummeling, but no wounds appear on the body since ancient boxing practices made the face the main target. It becomes obvious that this man is rather old since his misshapen ears and multiply-broken nose suggest he's spent many years in the ring. His dejected look suggests that he's questioning why he continues going into the ring as the end of his career looms near. This original Greek bronze from 330 BC - 50 BC, is one of the most realistic of all ancient Greek sculptures, and is one of the most touching and emotive works of art from that period, reminding us that the pain and difficulties of human life are universal and beyond the bounds of time. A series of marks on the straps above the left ring finger seem to be the signature of the Athenian sculpture Apollonios, son of Nestor, who was active during the 1st century BC, and inspired by the stule of the Greek sculpture Lysippus. It is now located in the National Museum of Rome, Palazzo Massimo. It was found in the gardens of Rome’s Quirinale Palace in 1885 after having been intentionally buried there centuries earlier, perhaps by people trying to insure it wouldn't be melted down. See all National Museum of Rome - Palazzo Massimo photos.
The Boxer at Rest, seated on a boulder (a modern addition that replicates the ancient original), resting after a boxing match. The only sign that he's a boxer is that his hands are covered by leather gloves that bind the four fingers, leaving the thumbs free, which continue up onto his forearms, and are bordered by a fur lining. Then a closer look at his face shows that his cheek has a gash and there's a lump on his forehead, just below his hairline, from a recent pummeling, but no wounds appear on the body since ancient boxing practices made the face the main target. It becomes obvious that this man is rather old since his misshapen ears and multiply-broken nose suggest he's spent many years in the ring. His dejected look suggests that he's questioning why he continues going into the ring as the end of his career looms near. This original Greek bronze from 330 BC - 50 BC, is one of the most realistic of all ancient Greek sculptures, and is one of the most touching and emotive works of art from that period, reminding us that the pain and difficulties of human life are universal and beyond the bounds of time. A series of marks on the straps above the left ring finger seem to be the signature of the Athenian sculpture Apollonios, son of Nestor, who was active during the 1st century BC, and inspired by the stule of the Greek sculpture Lysippus. It is now located in the National Museum of Rome, Palazzo Massimo. It was found in the gardens of Rome’s Quirinale Palace in 1885 after having been intentionally buried there centuries earlier, perhaps by people trying to insure it wouldn't be melted down. See all National Museum of Rome - Palazzo Massimo photos.
The Boxer at Rest, seated on a boulder (a modern addition that replicates the ancient original), resting after a boxing match. The only sign that he's a boxer is that his hands are covered by leather gloves that bind the four fingers, leaving the thumbs free, which continue up onto his forearms, and are bordered by a fur lining. Then a closer look at his face shows that his cheek has a gash and there's a lump on his forehead, just below his hairline, from a recent pummeling, but no wounds appear on the body since ancient boxing practices made the face the main target. It becomes obvious that this man is rather old since his misshapen ears and multiply-broken nose suggest he's spent many years in the ring. His dejected look suggests that he's questioning why he continues going into the ring as the end of his career looms near. This original Greek bronze from 330 BC - 50 BC, is one of the most realistic of all ancient Greek sculptures, and is one of the most touching and emotive works of art from that period, reminding us that the pain and difficulties of human life are universal and beyond the bounds of time. A series of marks on the straps above the left ring finger seem to be the signature of the Athenian sculpture Apollonios, son of Nestor, who was active during the 1st century BC, and inspired by the stule of the Greek sculpture Lysippus. It is now located in the National Museum of Rome, Palazzo Massimo. It was found in the gardens of Rome’s Quirinale Palace in 1885 after having been intentionally buried there centuries earlier, perhaps by people trying to insure it wouldn't be melted down. See all National Museum of Rome - Palazzo Massimo photos.
The Boxer at Rest, seated on a boulder (a modern addition that replicates the ancient original), resting after a boxing match. The only sign that he's a boxer is that his hands are covered by leather gloves that bind the four fingers, leaving the thumbs free, which continue up onto his forearms, and are bordered by a fur lining. Then a closer look at his face shows that his cheek has a gash and there's a lump on his forehead, just below his hairline, from a recent pummeling, but no wounds appear on the body since ancient boxing practices made the face the main target. It becomes obvious that this man is rather old since his misshapen ears and multiply-broken nose suggest he's spent many years in the ring. His dejected look suggests that he's questioning why he continues going into the ring as the end of his career looms near. This original Greek bronze from 330 BC - 50 BC, is one of the most realistic of all ancient Greek sculptures, and is one of the most touching and emotive works of art from that period, reminding us that the pain and difficulties of human life are universal and beyond the bounds of time. A series of marks on the straps above the left ring finger seem to be the signature of the Athenian sculpture Apollonios, son of Nestor, who was active during the 1st century BC, and inspired by the stule of the Greek sculpture Lysippus. It is now located in the National Museum of Rome, Palazzo Massimo. It was found in the gardens of Rome’s Quirinale Palace in 1885 after having been intentionally buried there centuries earlier, perhaps by people trying to insure it wouldn't be melted down. See all National Museum of Rome - Palazzo Massimo photos.
Room 8 houses the sculpture of Aphrodite by Menophantos, and several works of the Neo-Attic style.
Statue of Aphrodite by Menophantos, from the 1st century BC, in the National Museum of Rome, Palazzo Massimo. The goddess is depicted in the typical attitude of the modest version of Aphrodite, reminiscent of the famous Aphrodite of Cnidos, by the Greek sculpture Praxiteles of the 4th century BC, which is now in the Munich Glyptothek Museum. See all National Museum of Rome - Palazzo Massimo photos.
Statue of Aphrodite by Menophantos, from the 1st century BC, in the National Museum of Rome, Palazzo Massimo. The goddess is depicted in the typical attitude of the modest version of Aphrodite, reminiscent of the famous Aphrodite of Cnidos, by the Greek sculpture Praxiteles of the 4th century BC, which is now in the Munich Glyptothek Museum. See all National Museum of Rome - Palazzo Massimo photos.
Basin in the Neo-Attic style, standing on the paws of wild beasts, from the first decades of the 1st century BC, showing Eros on a winged swan and a procession of sea Centaurs with Nereids who are transporting the weapons of Achilles, in the National Museum of Rome, Palazzo Massimo. The handles of the bowl are in the form of masks of Sileni. See all National Museum of Rome - Palazzo Massimo photos.
Basin in the Neo-Attic style, standing on the paws of wild beasts, from the first decades of the 1st century BC, showing Eros on a winged swan and a procession of sea Centaurs with Nereids who are transporting the weapons of Achilles, in the National Museum of Rome, Palazzo Massimo. The handles of the bowl are in the form of masks of Sileni. See all National Museum of Rome - Palazzo Massimo photos.
Cremation urn, in the National Museum of Rome, Palazzo Massimo. The urn is decorated by three scenes. At the center the seated goddess Demeter, with ears of corn in her hand and hair, holds a torch; her daughter Kore advances toward her, while the god Iacchus is touching the head of a snake coiled round the goddess' seat. In the next scene a priestess is holding a wicker screen over the head of the initiate, who is covered by a lion-skin. Finally, Hercules is holding a piglet onto which a priest is pouring water. The work can be dated to the early imperial period and is inspired by a model from the late Hellenic period from Alexandria. See all National Museum of Rome - Palazzo Massimo photos.
Bust of Sappho, in the National Museum of Rome, Palazzo Massimo. This young woman with elaborate hairstyle is the famous poet Sappho (612-580 BC). Other inscribed portraits that represent the poet with the same hairstyle make the identification quite secure. This replica may have been produced in the 16th or 18th centuries, possibly reworking and polishing an ancient work. See all National Museum of Rome - Palazzo Massimo photos.
This vase, dating from the end of the 1st century BC, in the shape of a drinking horn ending with the head and the paws of a lion-griffin, was used as a fountain decoration; the water flowed from a hole between the animal's front paws. On the rim of the horn was a frieze with Maenads. The work reproduces, on a smaller scale, the vase signed by the Greek artist Pontios preserved in the Capitoline Museums and derived from the metal prototype. It is now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Circular base depicting three Maenads, priestesses of the god Dionysis, who under the influence of the divine madness, abandon themselves to bare-footed dancing, from the second half of the 1st century BC, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Mosaic of the face of Oceanus, deity of the primordial sea and sun of Uranus and Gaia, the goddess of the Earth, from the end of the 3rd century AD, in the National Museum of Rome, Palazzo Massimo. Shrimp claws and antennas sprout from the thick hair of the god, fishes swim around in the corners and rocks are depicted with birds and aquatic plants. See all National Museum of Rome - Palazzo Massimo photos.
Mosaic of the face of Oceanus, deity of the primordial sea and sun of Uranus and Gaia, the goddess of the Earth, from the end of the 3rd century AD, in the National Museum of Rome, Palazzo Massimo. Shrimp claws and antennas sprout from the thick hair of the god, fishes swim around in the corners and rocks are depicted with birds and aquatic plants. See all National Museum of Rome - Palazzo Massimo photos.
So ends the Ground Floor of the Palazzo Massimo. Go upstairs to the first floor, and enter Room 1, devoted to portraits of the Flavian emperors, 69-96 AD, Vespasian (69-79 AD), Titus (79-81 AD) and Domitian (81-96 AD).
Portrait of Antoninus Pius from Formia, shown as a hero with the right arm probably resting on a spear, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
A 'Province' Relief armed with a curved sword and dressed as an Amazon, personifying the province of Thrace from the Temple of Hadrian, 145 AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
A 'Province' Relief with a diadem of rosettes, personifying the province of Egypt from the Temple of Hadrian, 145 AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Aphrodite squatting to bathe, probably with her left arm stretched out over her abdomen and right hand lightly touching her left shoulder, a Roman copy of a greek original from the 3rd century BC, in Room 5 of the 1st floor of the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Aphrodite squatting to bathe, probably with her left arm stretched out over her abdomen and right hand lightly touching her left shoulder, a Roman copy of a greek original from the 3rd century BC, in Room 5 of the 1st floor of the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Hermes, portrayed with his head covered by the winged hat and the messenger's staff in his left hand, a 1st century AD copy of a 5h century BC Greek original, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Dionysus, portrayed with a woman's hairstyle, wearong only a fawn skin, and holding a wine cup in his right hand, from Hadrian's Villa, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Dionysus, portrayed with a woman's hairstyle, wearong only a fawn skin, and holding a wine cup in his right hand, from Hadrian's Villa, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
The so-called Maiden of Anzio, a portrayal of a girl participating in an open-air Dionysiac ritual as she turns her head towards a tray of offerings resting on her arm, from the mid 3rd century BC, discovered in 1878 in a niche in an imperial villa in Anzio, now in the National Museum of Rome, Palazzo Massimo. Two different types of marble are used - Parian for the nude shoulder and Pentelic for the clothes, resulting in a polychrome effect. See all National Museum of Rome - Palazzo Massimo photos.
Aphrodite crouching while bathing, a copy from 117-138 AD of a 3rd century BC Greek bronze, in the National Museum of Rome, Palazzo Massimo, found in Hadrian's Villa See all National Museum of Rome - Palazzo Massimo photos.
An Amazon perched on a rearing horse clashes with a barbarian Celtic warrior who attempts to deal a final blow before succumbing, a 2nd-century AD copy of a 2nd-century BC Greek original, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
The so-called Ephebus of Subiaco, a young man off balance, about to fall to the left, perhaps due to a would received during an attempt to flee, a copy of a Greek bronze, in the National Museum of Rome, Palazzo Massimo. The subject might be a Niobid, one of the 14 children of Niobe who Leto had Apollo and Artemis shoot dead with arrows. See all National Museum of Rome - Palazzo Massimo photos.
Head of a Sleeping or Dead Girl, an imperial-period copy of a Greek bronze, in the National Museum of Rome, Palazzo Massimo, found in Nero's villa at Subiaco. It is possible that this work portrays one of Niobe's dead daughters. See all National Museum of Rome - Palazzo Massimo photos.
Head of a Sleeping or Dead Girl, an imperial-period copy of a Greek bronze, in the National Museum of Rome, Palazzo Massimo, found in Nero's villa at Subiaco. It is possible that this work portrays one of Niobe's dead daughters. See all National Museum of Rome - Palazzo Massimo photos.
The so-called Dancer of Tivoli, a female captured in the dynamic act of dancing, probably to the rhythm of a double flute held between her hands and missing here, from Hadrian's Villa, in the National Museum of Rome, Palazzo Massimo. The statue type, also known from other Roman copies, is thought to be a portrait of Praxilla, the Greek poet, of the 5th century BC, depicted in a bronze statue by the sculptor Lysippos (about 320 BC). See all National Museum of Rome - Palazzo Massimo photos.
Room 6 is devoted to sculptures that re-created the atmosphere of the gymnasium.
The so-called Apollo of the Tiber, a 2nd century AD copy of a 1st century AD reworking of 5th century BC models, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
The Discus Thrower named the Lancellotti Discobolos, captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the plastic representation of the moving human body, a 2nd century AD copy of one of the most admired works of antiquity, the bronze discobolus by the Greek sculptor Myron, in 450 BC, now in the National Museum of Rome, Palazzo Massimo. The muscles are coiled, the veins bulge, and the face expresses the athlete's concentration on his throw. The statue is meant to be seen from just one side, the one to which the athlete's head and chest are turned. A frontal view, from the direction in which the discus will be thrown, reveals the unnatural position of the legs and the left foot, proving faithfulness to the original Myron Discobolos which exhibited these same features. See all National Museum of Rome - Palazzo Massimo photos.
The Discus Thrower named the Lancellotti Discobolos, captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the plastic representation of the moving human body, a 2nd century AD copy of one of the most admired works of antiquity, the bronze discobolus by the Greek sculptor Myron, in 450 BC, now in the National Museum of Rome, Palazzo Massimo. The muscles are coiled, the veins bulge, and the face expresses the athlete's concentration on his throw. The statue is meant to be seen from just one side, the one to which the athlete's head and chest are turned. A frontal view, from the direction in which the discus will be thrown, reveals the unnatural position of the legs and the left foot, proving faithfulness to the original Myron Discobolos which exhibited these same features. See all National Museum of Rome - Palazzo Massimo photos.
The Discus Thrower named the Lancellotti Discobolos, captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the plastic representation of the moving human body, a 2nd century AD copy of one of the most admired works of antiquity, the bronze discobolus by the Greek sculptor Myron, in 450 BC, now in the National Museum of Rome, Palazzo Massimo. The muscles are coiled, the veins bulge, and the face expresses the athlete's concentration on his throw. The statue is meant to be seen from just one side, the one to which the athlete's head and chest are turned. A frontal view, from the direction in which the discus will be thrown, reveals the unnatural position of the legs and the left foot, proving faithfulness to the original Myron Discobolos which exhibited these same features. See all National Museum of Rome - Palazzo Massimo photos.
The Discus Thrower named the Lancellotti Discobolos, captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the plastic representation of the moving human body, a 2nd century AD copy of one of the most admired works of antiquity, the bronze discobolus by the Greek sculptor Myron, in 450 BC, now in the National Museum of Rome, Palazzo Massimo. The muscles are coiled, the veins bulge, and the face expresses the athlete's concentration on his throw. The statue is meant to be seen from just one side, the one to which the athlete's head and chest are turned. A frontal view, from the direction in which the discus will be thrown, reveals the unnatural position of the legs and the left foot, proving faithfulness to the original Myron Discobolos which exhibited these same features. See all National Museum of Rome - Palazzo Massimo photos.
The Discus Thrower named the Lancellotti Discobolos, captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the plastic representation of the moving human body, a 2nd century AD copy of one of the most admired works of antiquity, the bronze discobolus by the Greek sculptor Myron, in 450 BC, now in the National Museum of Rome, Palazzo Massimo. The muscles are coiled, the veins bulge, and the face expresses the athlete's concentration on his throw. The statue is meant to be seen from just one side, the one to which the athlete's head and chest are turned. A frontal view, from the direction in which the discus will be thrown, reveals the unnatural position of the legs and the left foot, proving faithfulness to the original Myron Discobolos which exhibited these same features. See all National Museum of Rome - Palazzo Massimo photos.
The Discus Thrower named the Lancellotti Discobolos, captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the plastic representation of the moving human body, a 2nd century AD copy of one of the most admired works of antiquity, the bronze discobolus by the Greek sculptor Myron, in 450 BC, now in the National Museum of Rome, Palazzo Massimo. The muscles are coiled, the veins bulge, and the face expresses the athlete's concentration on his throw. The statue is meant to be seen from just one side, the one to which the athlete's head and chest are turned. A frontal view, from the direction in which the discus will be thrown, reveals the unnatural position of the legs and the left foot, proving faithfulness to the original Myron Discobolos which exhibited these same features. See all National Museum of Rome - Palazzo Massimo photos.
The Discus Thrower named the Lancellotti Discobolos, captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the plastic representation of the moving human body, a 2nd century AD copy of one of the most admired works of antiquity, the bronze discobolus by the Greek sculptor Myron, in 450 BC, now in the National Museum of Rome, Palazzo Massimo. The muscles are coiled, the veins bulge, and the face expresses the athlete's concentration on his throw. The statue is meant to be seen from just one side, the one to which the athlete's head and chest are turned. A frontal view, from the direction in which the discus will be thrown, reveals the unnatural position of the legs and the left foot, proving faithfulness to the original Myron Discobolos which exhibited these same features. See all National Museum of Rome - Palazzo Massimo photos.
The Discus Thrower named the Lancellotti Discobolos, captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the plastic representation of the moving human body, a 2nd century AD copy of one of the most admired works of antiquity, the bronze discobolus by the Greek sculptor Myron, in 450 BC, now in the National Museum of Rome, Palazzo Massimo. The muscles are coiled, the veins bulge, and the face expresses the athlete's concentration on his throw. The statue is meant to be seen from just one side, the one to which the athlete's head and chest are turned. A frontal view, from the direction in which the discus will be thrown, reveals the unnatural position of the legs and the left foot, proving faithfulness to the original Myron Discobolos which exhibited these same features. See all National Museum of Rome - Palazzo Massimo photos.
The Discus Thrower named the Lancellotti Discobolos, captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the plastic representation of the moving human body, a 2nd century AD copy of one of the most admired works of antiquity, the bronze discobolus by the Greek sculptor Myron, in 450 BC, now in the National Museum of Rome, Palazzo Massimo. The muscles are coiled, the veins bulge, and the face expresses the athlete's concentration on his throw. The statue is meant to be seen from just one side, the one to which the athlete's head and chest are turned. A frontal view, from the direction in which the discus will be thrown, reveals the unnatural position of the legs and the left foot, proving faithfulness to the original Myron Discobolos which exhibited these same features. See all National Museum of Rome - Palazzo Massimo photos.
The Discus Thrower named the Lancellotti Discobolos, captured at the moment preceding the release of the discus, the athlete moves into the surrounding space with a complex action, exemplifying the experimentation with new canons for the plastic representation of the moving human body, a 2nd century AD copy of one of the most admired works of antiquity, the bronze discobolus by the Greek sculptor Myron, in 450 BC, now in the National Museum of Rome, Palazzo Massimo. The muscles are coiled, the veins bulge, and the face expresses the athlete's concentration on his throw. The statue is meant to be seen from just one side, the one to which the athlete's head and chest are turned. A frontal view, from the direction in which the discus will be thrown, reveals the unnatural position of the legs and the left foot, proving faithfulness to the original Myron Discobolos which exhibited these same features. See all National Museum of Rome - Palazzo Massimo photos.
Room 7 features divine sculptures of the Roman gods.
The so-called Chigi Apollo, apparently holding a bow and arrow, in a pose of absorbed meditation, a 2nd century AD copy of a 4th century BC Greek original, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
The so-called Chigi Apollo, apparently holding a bow and arrow, in a pose of absorbed meditation, a 2nd century AD copy of a 4th century BC Greek original, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Dionysus, crowned with vine-shoots and clusters of ivy berries, has an absorbed and detached expression, a 2nd century AD Roman copy of a 2nd centry BC copy of a 4th century BC original of Praxiteles, found in piazza del Viminale about 1915, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Dionysus, crowned with vine-shoots and clusters of ivy berries, has an absorbed and detached expression, a 2nd century AD Roman copy of a 2nd centry BC copy of a 4th century BC original of Praxiteles, found in piazza del Viminale about 1915, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Papposilenos, the aged Silenus who was tutor to Dionysus, is portrayed here in caricatural fashion, with a hairy coat accentuating his wild nature, a 2nd-century AD work inspired by a 2nd century BC reworking of the 370-360 BC 'Satyr Pouring Wine' by the Greek sculptor Praxiteles, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Papposilenos, the aged Silenus who was tutor to Dionysus, is portrayed here in caricatural fashion, with a hairy coat accentuating his wild nature, a 2nd-century AD work inspired by a 2nd century BC reworking of the 370-360 BC 'Satyr Pouring Wine' by the Greek sculptor Praxiteles, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
A young African performs an acrobatic trick in this decoration for a Roman fountain, from the early imperial period, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Thetis, mother of Achilles, seated on a throne, with a little merman beside her, from the 2nd century AD, in the National Museum of Rome, Palazzo Massimo. Inspired by a work of Eutychides from about 290 BC. See all National Museum of Rome - Palazzo Massimo photos.
Sleeping Hermaphrodite, from between the 2nd century BC and the 2nd century AD, a copy of the original by Polycles, found in the area of the Opera Theater, now in the National Museum of Rome, Palazzo Massimo. Hermaphrodite was born from the union of Hermes and Aphrodite, and was loved by the nymph Salmacis who, once she was rejected, prayed to the gods that they would be united. The prayer was answered literally and they were merged into one being, half man and half woman. From behind, the buttocks, face and hair suggest a female subject, verified in the front by breaasts, but contradicted by an erect male sexual organ. See all National Museum of Rome - Palazzo Massimo photos.
Sleeping Hermaphrodite, from between the 2nd century BC and the 2nd century AD, a copy of the original by Polycles, found in the area of the Opera Theater, now in the National Museum of Rome, Palazzo Massimo. Hermaphrodite was born from the union of Hermes and Aphrodite, and was loved by the nymph Salmacis who, once she was rejected, prayed to the gods that they would be united. The prayer was answered literally and they were merged into one being, half man and half woman. From behind, the buttocks, face and hair suggest a female subject, verified in the front by breaasts, but contradicted by an erect male sexual organ. See all National Museum of Rome - Palazzo Massimo photos.
Sleeping Hermaphrodite, from between the 2nd century BC and the 2nd century AD, a copy of the original by Polycles, found in the area of the Opera Theater, now in the National Museum of Rome, Palazzo Massimo. Hermaphrodite was born from the union of Hermes and Aphrodite, and was loved by the nymph Salmacis who, once she was rejected, prayed to the gods that they would be united. The prayer was answered literally and they were merged into one being, half man and half woman. From behind, the buttocks, face and hair suggest a female subject, verified in the front by breaasts, but contradicted by an erect male sexual organ. See all National Museum of Rome - Palazzo Massimo photos.
Dionysus from the Tiber, a bronze from 117-138 AD, found in the Tiber River in 1885 during the placement of a pylon of the Garibaldi Bridge. A copy of a 5th century BC original possibly from the workshop of Phidias. Dionysus' head is crowned with a diadem adorned with vine shoots, and holds the thyrsus in his right hand. Now located in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Dionysus from the Tiber, a bronze from 117-138 AD, found in the Tiber River in 1885 during the placement of a pylon of the Garibaldi Bridge. A copy of a 5th century BC original possibly from the workshop of Phidias. Dionysus' head is crowned with a diadem adorned with vine shoots, and holds the thyrsus in his right hand. Now located in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Dionysus from the Tiber, a bronze from 117-138 AD, found in the Tiber River in 1885 during the placement of a pylon of the Garibaldi Bridge. A copy of a 5th century BC original possibly from the workshop of Phidias. Dionysus' head is crowned with a diadem adorned with vine shoots, and holds the thyrsus in his right hand. Now located in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Dionysus from the Tiber, a bronze from 117-138 AD, found in the Tiber River in 1885 during the placement of a pylon of the Garibaldi Bridge. A copy of a 5th century BC original possibly from the workshop of Phidias. Dionysus' head is crowned with a diadem adorned with vine shoots, and holds the thyrsus in his right hand. Now located in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Dionysus from the Tiber, a bronze from 117-138 AD, found in the Tiber River in 1885 during the placement of a pylon of the Garibaldi Bridge. A copy of a 5th century BC original possibly from the workshop of Phidias. Dionysus' head is crowned with a diadem adorned with vine shoots, and holds the thyrsus in his right hand. Now located in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Dionysus from the Tiber, a bronze from 117-138 AD, found in the Tiber River in 1885 during the placement of a pylon of the Garibaldi Bridge. A copy of a 5th century BC original possibly from the workshop of Phidias. Dionysus' head is crowned with a diadem adorned with vine shoots, and holds the thyrsus in his right hand. Now located in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
A mature bearderd Dionysus, characterized by a feminine hairstyle and clothing, based on a 330-310 BC Greek original from the school of Praxiteles, found on the Appian Way, stolen by the Nazis, returned to Rome in 1992, and now in the National Museum of Rome, Palazzo Massimo. See all National Museum of Rome - Palazzo Massimo photos.
Relief of an Idyllic Landscape with grazing animals acts as the setting for a sacred scene with Pan, seated on a rock on the left, holding his flute in his right hand, and Diana with her bow in a small temple whose pediment is decorated with the myth of Actaeon attacked by his dogs, from the 2nd century AD, found in 1906 in Via del Quirinale, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Relief of a Maenad and a Goat, held firmly by one of its horns, from 117-138 AD, found in 1921 on Via Statilia, where the Horti Lamiani used to be, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
The winged god of love, Eros, In the act of drawing his bow to the right, turning his head in the same direction, a 117-138 AD copy of a 338-335 BC Greek bronze original by Lysippos, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Room 8 holds mythological sculptures, but I didn't photograph any of them.
Room 9 celebrates the theater, but I didn't photograph any of it.
Room 10 features remains from the ships found in Lake Name between 1895 and 1932, which had been used by Caligula for festivities and banquets, but were destroyed during the Second World War.
Room 12 is devoted to victories over the barbarians and is dominated by the incredibly epic and detailed sarcophagus found at Portonaccio, on the Via Tiburtina. It probably belonged to one of Marcus Aurelius's generals, Aulus Julius Pompilius, who died around 180 AD. The long side of the casket, photographed below, depicts a violent charge by the Roman cavalry that routed the Germans, led by the commander in the middle, and framed between two trophies set above two pairs of prisoners. The sculptor's drill has been used to create an exceptional play of light and shade, while the arrangement and expressionism of the faces conveys the drama of the clash.
Portonaccio Sarcophagus, from 190-200 AD, used for the burial of a Roman general involved in the campaigns of Marcus Aurelius, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Portonaccio Sarcophagus, from 190-200 AD, used for the burial of a Roman general involved in the campaigns of Marcus Aurelius, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Portonaccio Sarcophagus, from 190-200 AD, used for the burial of a Roman general involved in the campaigns of Marcus Aurelius, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Portonaccio Sarcophagus, from 190-200 AD, used for the burial of a Roman general involved in the campaigns of Marcus Aurelius, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Portonaccio Sarcophagus, from 190-200 AD, used for the burial of a Roman general involved in the campaigns of Marcus Aurelius, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Portonaccio Sarcophagus, from 190-200 AD, used for the burial of a Roman general involved in the campaigns of Marcus Aurelius, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Room 13 features the Severan Dynasty, from 193 - 235 AD.
Sarcophagus of Acilia, dating to about 238 according to Ranuccio Bianchi Bandinelli, who identified the young man with short hair as Gordian III ascended to the throne at age 13, with his parents close to him. According to others it is a processus consularis procession for the entry into office of a consul. Regardless of the subject identification, the walls are composed of at least 14 draped figures that are carved in very high relief and overlap naturally with one another. It was found in 1950 in Palocco and it is in the shape of a lenos, the vat used to ferment grapes into wine, in allusion to the harvest after death. Now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Sarcophagus of Acilia, dating to about 238 according to Ranuccio Bianchi Bandinelli, who identified the young man with short hair as Gordian III ascended to the throne at age 13, with his parents close to him. According to others it is a processus consularis procession for the entry into office of a consul. Regardless of the subject identification, the walls are composed of at least 14 draped figures that are carved in very high relief and overlap naturally with one another. It was found in 1950 in Palocco and it is in the shape of a lenos, the vat used to ferment grapes into wine, in allusion to the harvest after death. Now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
The Sarcophagus with the Muses, from Villa Mattei thought to be dating to the years 280-290 AD, illustrates the importance of culture in turning the deceased into a hero, symbolized by the Muses represented in the niches, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
The Sarcophagus with the Muses, from Villa Mattei thought to be dating to the years 280-290 AD, illustrates the importance of culture in turning the deceased into a hero, symbolized by the Muses represented in the niches, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
The Sarcophagus with the Muses, from Villa Mattei thought to be dating to the years 280-290 AD, illustrates the importance of culture in turning the deceased into a hero, symbolized by the Muses represented in the niches, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
The Sarcophagus with the Muses, from Villa Mattei thought to be dating to the years 280-290 AD, illustrates the importance of culture in turning the deceased into a hero, symbolized by the Muses represented in the niches, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
The Annona Sarcophagus, decorated with a scene of marriage in the presence of of personifications related to the high official in charge of the Annona's office responsible for the provision of food (from left to right, they are Portus, Annona, Concordia, Genius Senatus, Abundantia and Africa), 270-280 AD from Via Latina, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Marcus Claudianus sarcophagus with scenes from the Old and New Testaments, about 330 AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
And finally, Gallery 2 featuring portraits of women from the 2nd-4th centuries AD, and which I took no photos of, ends the first floor of the museum and also ends the part of the museum displaying sculptures. The second floor will feature paintings, frescoes and mosaics, probably the finest collection of these that can be found in all of Rome, and the basement will feature coins and jewelry.
We'll start with the second floor's Room Near the Stairs (I have no idea why this room is not numbered), where we'll find fragments of frescoes with fishes and navigation scenes which were found in 1939 and 1940 in the area of Lungotevere of Pietra Papa, and probably were originally from about 130 AD.
Fragment of a fresco of a fight scene between octopus, lobster and eel, from the area of Lungotevere of Pietra Papa in the second quarter of the 2nd century AD, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Fragment of a fresco of a fight scene between octopus, lobster and eel, from the area of Lungotevere of Pietra Papa in the second quarter of the 2nd century AD, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Fragment of a fresco of a fight scene between octopus, lobster and eel, from the area of Lungotevere of Pietra Papa in the second quarter of the 2nd century AD, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Fragment of a fresco of a fight scene between octopus, lobster and eel, from the area of Lungotevere of Pietra Papa in the second quarter of the 2nd century AD, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Fresco of Boats on the Sea Floor, attended to by naked characters and decorated as the gala boats which went along the Tiber on festive days, found in the area of Lungotevere of Pietra Papa, from the 2nd quarter of the 2nd century AD, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Fresco of Boats on the Sea Floor, attended to by naked characters and decorated as the gala boats which went along the Tiber on festive days, found in the area of Lungotevere of Pietra Papa, from the 2nd quarter of the 2nd century AD, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Fresco of Boats on the Sea Floor, attended to by naked characters and decorated as the gala boats which went along the Tiber on festive days, found in the area of Lungotevere of Pietra Papa, from the 2nd quarter of the 2nd century AD, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Gallery 1 is filled with mosaics.
Mosaic floor with coffered Nikai and Dionysian masks, from the end of the 1st century BC, from Villa Ruffinella in Tuscolo, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Mosaic floor with coffered Nikai and Dionysian masks, from the end of the 1st century BC, from Villa Ruffinella in Tuscolo, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Mosaic floor with coffered Nikai and Dionysian masks, from the end of the 1st century BC, from Villa Ruffinella in Tuscolo, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Mosaic floor with coffered Nikai and Dionysian masks, from the end of the 1st century BC, from Villa Ruffinella in Tuscolo, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Mosaic floor with coffered Nikai and Dionysian masks, from the end of the 1st century BC, from Villa Ruffinella in Tuscolo, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Mosaic floor with coffered Nikai and Dionysian masks, from the end of the 1st century BC, from Villa Ruffinella in Tuscolo, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Mosaic floor with coffered Nikai and Dionysian masks, from the end of the 1st century BC, from Villa Ruffinella in Tuscolo, now in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Room 1 features frescoes from Homer's Odyssey, shown in the photo below. Among the few preserved examples of 1st century BC wall paintings that decorated Roman houses and villas, these frescoes depicting scenes from the Odyssey represent a truly unique masterpiece. The frescoes were found during the excavation of a domus (house) on the Esquiline Hill and are dated to the end of the Republican period. The scene represents the famous story of Odysseus and the mermaids in which the Greek hero had his companions tie him to the main mast of his ship to resist the enchanted song with which the mermaids attracted sailors to wreck their ships. The scene is set in a vast landscape that derives from known Hellenistic models of the 2nd century BC. The landscape has stylistic affinities with the frescoes from the House of Livia on the Palatine, dating to about 30 BC. Some contemporary frescoes of a lesser quality found in Roman towns in the area around Naples and Vesuvius compare with the painting on display.
Fresco with Ulysses and the Sirens, from the 1st century BC, in the National Museum of Rome, Palazzo Massimo. Among the few preserved examples of 1st century BC wall paintings that decorated Roman houses and villas, these frescoes depicting scenes from the Odyssey represent a truly unique masterpiece. The frescoes were found during the excavation of a domus on the Esquiline Hill and are dated to the end of the Republican period. The scene represents the famous story of Odysseus and the mermaids in which the Greek hero had his companions tie him to the main mast of his ship to resist the enchanted song with which the mermaids attracted sailors to wreck their ships. The scene is set in a vast landscape that derives from known Hellenistic models of the 2nd century BC. The landscape has stylistic affinities with the frescoes from the House of Livia on the Palatine, dating to about 30 BC. Some contemporary frescoes of a lesser quality found in Roman towns in the area around Naples and Vesuvius compare with the painting on display. See all National Museum of Rome - Palazzo Massimo photos.
I think Room 1 also shows frescoes from the Large Columbarium in Villa Doria Panphilj, but those might have been in Gallery 1. In any case, I've displayed them below. A columbarium is a type of tomb, often partly underground, with walls lined by niches that hold terracotta urns containing the ashes of the dead. This columbarium, from the western slopes of the Januculum Hill. It was excavated in 1838, and in 1922 the frescoes were removed and re-assembled in the National Museum of Rome, Terme di Diocleziano, then subsequently moved here.
Frescoes painted in the tombs of the Large Columbarium on the western slopes of the Giancolo Hill, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Frescoes painted in the tombs of the Large Columbarium on the western slopes of the Giancolo Hill, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Frescoes painted in the tombs of the Large Columbarium on the western slopes of the Giancolo Hill, in the National Museum of Rome, Palazzo Massimo. The centaur Nessus and Hercules are depicted fighting at the upper-left corner. See all National Museum of Rome - Palazzo Massimo photos.
Frescoes painted in the tombs of the Large Columbarium on the western slopes of the Giancolo Hill, in the National Museum of Rome, Palazzo Massimo. A landscape from the Nile is featured in the top row of artwork on the bottom specimen. See all National Museum of Rome - Palazzo Massimo photos.
Frescoes painted in the tombs of the Large Columbarium on the western slopes of the Giancolo Hill, in the National Museum of Rome, Palazzo Massimo. In the center is a scene from a sepulchral banquet. See all National Museum of Rome - Palazzo Massimo photos.
Frescoes painted in the tombs of the Large Columbarium on the western slopes of the Giancolo Hill, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Frescoes painted in the tombs of the Large Columbarium on the western slopes of the Giancolo Hill, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Frescoes painted in the tombs of the Large Columbarium on the western slopes of the Giancolo Hill, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Room 1 (or maybe Gallery 1) also displayed these lunettes from the walls of a tomb discovered in the early 20th century at Morlupo, which is no longer visible and is only known from a description written at the time of discovery.
Lunette from the walls of a tomb discovered in the early 20th century at Morlupo, from 30 BC, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Lunette from the walls of a tomb discovered in the early 20th century at Morlupo, from 30 BC, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Lunette from the walls of a tomb discovered in the early 20th century at Morlupo, from 30 BC, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Lunette from the walls of a tomb discovered in the early 20th century at Morlupo, from 30 BC, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Lunette from the walls of a tomb discovered in the early 20th century at Morlupo, from 30 BC, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Room 2 is devoted entirely to the exceptional four-sided frescoe paintings of a garden in the winter triclinium (dining room) of the Villa of Livia (Augustus' wife) at Prima Porta, the oldest example of a continuous garden painting, from 30-20 BC. The dining room measured approximately 19 by 38 feet. The frescoed walls were detached for reasons of conservation in the 1950s and restored and reassembled in their entirety in this room. The life-sized image formed by the frescoes is not interrupted, even at the corners, and has no pillars or columns dividing it up. It simply has a cane or wicker fence in the middle ground that opens onto a green lawn bordered by a marble ballustrade. A free (pine, fir, plane) stands in each recess of the ballustrade. Further away is a variety of plants and birds so detailed that they can be identified precisely. Beyond these the scene grows more and more blurred and indistinct into the distance. The sky is deliberately hard to make out; there is a pergola with bunches of grapes or perhaps the jagged edge of a cave. Slightly later than these are garden frescoes in the Villa Farnesina (see next section here), and later than those are examples from Pompeii such as in the House of the Fruit orchard and in that of the Golden Bracelet.
Gallery 2, Rooms 3, 4 and 5 display rooms decorated with frescoes, stuccos and mosaics from a luxurious villa of the Augustan period, the Villa of the Farnesina, discovered in 1879 while constructing the embankments for the Tiber River. The villa probably belonged to a relative or friend of Augustus and so its decoration is a very important record of the most up-to-date trends in Augustan painting in the third decade of the 1st century BC. The most likely hypothesis is that it was owned by Augustus's friend and colleague Marcus Agrippa, who married his daughter Julia in 19 BC. These first four photos are from an introduction to the Villa Farnesina, and the Viridarium L, an interior garden room similar to the garden room in the Villa of Livia at Prima Porta.
Close-up of one of the three frescoes of the south wall of Viridarium L of the Villa of the Farnesina, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Frescoes from Viridarium L (an enclosed garden) of the Villa of the Farnesina, now in the National Museum of Rome, Palazzo Massimo. Viridarium (Garden) L in Villa Farnesina was an unroofed space that was a genuine hortus conclusus (enclosed garden). The south wall was decorated with the three panels shown here: within dense vegetation there are huts made of reeds, jetting fountains, and a marble seat. The most complex example of this kind of room is the one from the Villa of Livia. See all National Museum of Rome - Palazzo Massimo photos.
Three bedrooms (cubiculum) from the Villa Farnesina are subsequently displayed, bedrooms B, D, and E. Bedroom B's dominant color is the expensive cinnabar red. Architectural elements rendered in perspective complete with shadows are the setting for representations of pictures hung on the walls, which give the impression of an art gallery. Aphrodite is on the left wall, and Dionysos is on the right wall. Other small pictures painted with wooden frames, show scenes of interiors and pairs of lovers. The barrel vault (not shown) is pure white stucco and decorated with reliefs showing scenes of inititiation into the mysteries and idylic landscapes with sacred elements.
Fresco from the left wall of Bedroom B of the Villa of the Farnesina, during the Augustan age, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Bedroom D has decoration similar to Bedroom B (above) in the use of cinnabar red. At the rear of the alcove three women perform a sacrificial ceremony in a rustic shrine. The walls of the antechamber have scenes of lovers, and most of the other pictures have to do with female life. Here carefully rendered details (attendants, handmaidens, furniture, glass and silver vessels) provide invaluable information on domestic life. There are also Egyptianizing elements, lotus flowers, sphinxes, and exotic landscapes. On the second column of the right wall is the inscription, in Greek, Seleukos made this, presumably the name of a Greek who was one of the artisans. The vaulted ceiling, in pure white stucco, has reliefs of initiation rites into the mysteries, idyllic landscapes with sacred elements, and combats between fantastic animals. The decorative scheme of tht two bedrooms owes its inspiration to the deities Aphrodite and Dionysos.
Bedroom E, in contrast to Bedroom B and D, is done in muted colors. Slender columns with a surreal superstructure frame small scenes with sacred landscapes. Three of these show travellers making a sacrifice to a herm of Athena. The images refer in various ways to the world of women. The little picutres along the walls of the antechamber show girls engaged in different activities. On the rear wall of the alcove, which has a picture with an amorous theme, the goddess Artemis is shown dressed as both huntress and moon goddess. Two Muses are on the opposite wall, The stucco decorations of the vaulted ceiling show idyllic landscapes with sacred elements and mythological scenes. In one, Phaethon asks his father Apollo to let him drive the chariot of the Sun. Other scenes show statues of Zeus, a statue probably representing Augustus as the new Mercury, disks of the sun, winged victories and grotesque figures, all done in very low relief with the elegance and delicacy of jewelry. The mosaic pavement of this room, known from a contemporary watercolor, had a pattern of squares and stars.
Fresco of Caryatids from Room I or M of the Villa of the Farnesina, during the Augustan age, in the National Museum of Rome, Palazzo Massimo. The women of Caria, sold into slavery, gave the name to female figures used as supports instead of columns. See all National Museum of Rome - Palazzo Massimo photos.
Fresco of Caryatids from Corridor F-G of the Villa of the Farnesina, during the Augustan age, in the National Museum of Rome, Palazzo Massimo. The women of Caria, sold into slavery, gave the name to female figures used as supports instead of columns. See all National Museum of Rome - Palazzo Massimo photos.
These last four frescoes from the Villa Farnesina were in Triclinium (dining room) C. In the center of the dining room was a table, with three couches (klinai in Greek, hence the name "triclinium") on which the diners reclined as they ate. The southern exposure of the room and its main color suggest it was meant to be used in the winter, since the architect Vitruvius, writing in the 1st century AD, recommends a dark background that will absorb heat to make the rooms warmer in cold weather. The black color, made from a mixture of charcoal and glue, was resistant to smoke from the fire and soot from the lamps. On the dark background delicate landscapes are painted in light colors: cityscapes with buildings, arches and gateways, and rural scenes showing huts, animals and rustic shrines. The lavish decoration is broken up by slender columns festooned with ivy. The capitals are crowned by graceful female figures (caryatids).
This ends the museum's Gallery 2, Rooms 3, 4 and 5.
Rooms 6 and 7 are devoted to the suburban villa of Castel di Guido, and I have no photographs of it.
Gallery 3 holds several fine mosaics.
Floor mosaic with geometric bust of the season in the center pane, from the 3rd century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Floor mosaic with geometric bust of the season in the center pane, from the 3rd century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Floor mosaic illustrating Dionysus and a Maenad fighting two Indians, from the 4th century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Floor mosaic illustrating Dionysus and a Maenad fighting two Indians, from the 4th century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Room 8 displays frescoes from an imperial complex discovered during excavations in 1862 for the first central train station. The discoveries also included the traces of the Servian walls now displayed in and beside the Termini Railroad Station. In 1947-1949 during work for the building of the new Termini Station and metro line B, in what is today the Piazza dei Cinquecento, a public bath was found which had been built during Hadrian's reign, 117-138 AD. Frescoes remaining from both of these discoveries are now display in Room 8 of the second floor of the museum, just meters away from where they originally came from.
Room 10 holds large paintings of the late empire, and I have no photos in this room.
Room 11 contains several fine examples of inlaid decorations in colored marble, called opus sectile. As opposed to a mosaic which is formed from small uniformly sized square pieces of tile, opus sectile is made from larger custom-shaped pieces of marble, mother of pearl, and glass, inlaid to make a picture. Other examples of opus sectile can be seen on the 3rd landing of the grand staircase of the Capitoline Museum. The two examples shown in the first four photos below and the two tigers attacking calves in the Capitoline Museum are all that remains of the dazzling and varied pagan mural decoration in opus sectile of a reception hall in a building erected on the Esquiline near where Santa Maria Maggiore now stands. It is called the Basilica of Junius Bassus because it had been owned by Junius Bassus, consul in 331 AD. The 1st photo below shows a chariot drawn by two white horses and driven by a person of high rank (perhaps Junius Bassus himself) dressed in a sumptuous toga picta. Numerous and varied fragments of cameo glass, which had not been produced since the end of the 1st century AD, were re-utilized for the toga. He is giving the starting signal for the race in the circus. Behind him we see four riders in typical costumes of charioteers. Their tunics are colored red, blue, green and white, with sleeves of different colors. All of this is surrounded by a background of green stones (serpentine, verde prato, Greek porphyry).
Panel wall in opus sectile (inlaid marble) with consul on chariot and four horsemen, from the 4th century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Panel wall in opus sectile (inlaid marble) with consul on chariot and four horsemen, from the 4th century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Panel wall 'the Hilas abduction' in opus sectile (inlaid marble) with the scene of the rape of Hylas by the nymphs, from the first half of the 4th century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Panel wall 'the Hilas abduction' in opus sectile (inlaid marble) with the scene of the rape of Hylas by the nymphs, from the first half of the 4th century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Panel with glass inlaid palmette floral decoration (opus sectile), perhaps from the villa of Lucius Verus in the 5th mile of the Via Cassia, from the 2nd century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
Panel with glass inlaid racemes and griffin, (opus sectile) perhaps from the villa of Lucius Verus in the 5th mile of the Via Cassia, from the 2nd century AD, in the National Museum of Rome, Palazzo Massimo See all National Museum of Rome - Palazzo Massimo photos.
This ends the rooms on the second floor and you should now go down to the basement.
Room 3 is the only room I photographed in the basement of the museum. It displays many many many coins and I photographed these few that are of personal interest to me.
I found this museum to be an excellent way to spend a couple hours, with an interesting collection of history and art all described very well on signs in Italian and English. I would highly recommend this second-tier museum, assuming you've already seen the first-tier museums: Capitoline Museum, the Vatican Museum, and the Borghese Gallery. I found it to be the best of the four museums which are part of the National Museum of Rome.
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