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Produced under the auspices of the City of Rome, Department of Cultural Affairs, Superintendent of Cultural Heritage. The Capitoline Museums have recently achieved new prominence thanks to the opening of a new wing designed by Carlo Aymonino and organized around the large Exedra of Marcus Aurelius, providing a new setting for the famous bronze equestrian statue of the emperor. Other attractions include the Horti Romani, with the sculptures and precious ornaments that decorated the large garden villas of imperial Rome, the rooms containing the Castellani Collection, full of Greek and Roman works, the recently reordered coin collection, and the Galleria Lapidaria, a trove of important inscriptions. Lavishly illustrated with full-color photographs. Includes Bibliography. Electa, an imprint of Mondadori, was founded in Florence in 1945 and specializes in books on art and architecture.

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Rome's Capitoline Hill was the smallest of the Seven Hills of Rome. Yet in the long history of the Roman state it was the empire's holy mountain. The hill was the setting of many of Rome's most beloved stories, involving Aeneas, Romulus, Tarpeia, and Manlius. It also held significant monuments, including the Temple of Jupiter Optimus Maximus, a location that marked the spot where Jupiter made the hill his earthly home in the age before humanity. This is the first book that follows the history of the Capitoline Hill into late antiquity and the early middle ages, asking what happened to a holy mountain as the empire that deemed it thus became a Christian republic. This is not a history of the hill's tonnage of marble and gold bedecked monuments, but rather an investigation into how the hill was used, imagined, and known from the third to the seventh centuries CE. During this time, the imperial triumph and other processions to the top of the hill were no longer enacted. But the hill persisted as a densely populated urban zone and continued to supply a bridge to fragmented memories of an increasingly remote past through its toponyms. This book is also about a series of Christian engagements with the Capitoline Hill's different registers of memory, the transmission and dissection of anecdotes, and the invention of alternate understandings of the hill's role in Roman history. What lingered long after the state's disintegration in the fifth century were the hill's associations with the raw power of Rome's empire.

In this widely acclaimed work, James Ackerman considers in detail the buildings designed by Michelangelo in Florence and Rome—including the Medici Chapel, the Farnese Palace, the Basilica of St. Peter, and the Capitoline Hill. He then turns to an examination of the artist's architectural drawings, theory, and practice. As Ackerman points out, Michelangelo worked on many projects started or completed by other architects. Consequently this study provides insights into the achievements of the whole profession during the sixteenth century. The text is supplemented with 140 black-and-white illustrations and is followed by a scholarly catalog of Michelangelo's buildings that discusses chronology, authorship, and condition. For this second edition, Ackerman has made extensive revisions in the catalog to encompass new material that has been published on the subject since 1970.

From St. Peter’s Basilica to the Capitoline Hill, this unique resource part biography, part history, and part travel guide provides an intimate portrait of the relationship between Michelangelo and the city he restored to artistic greatness. Lavishly illustrated and richly informative, this travel companion tells the story of Michelangelo’s meteoric rise, his career marked by successive artistic breakthroughs, his tempestuous relations with powerful patrons, and his austere but passionate private life. Providing street maps that allow readers to navigate the city and discover Rome as Michelangelo knew it, each chapter focuses on a particular work that amazed Michelangelo’s contemporaries and modern tourists alike.

Christine Mitchell Havelock's book takes a much- needed new look at some of the most famous icons of Western art: the nude statues that the Greeks produced to represent Aphrodite. The Aphrodite of Knidos, by master sculptor Praxiteles, is the leading example of this form. Other statues include the Capitoline and Medici Venuses, the Crouching Aphrodite and the Aphrodite of Melos--all of them indebted to Praxiteles.The author analyzes the meaning of the pose of the Aphrodite of Knidos, the significance of her nudity, and her architectural setting. A survey of the statue's reception and interpretation in Greek, Roman, and modern times offers an entirely new perspective on this major work of art.Among topics examined are Praxiteles' reported use of his mistress Phryne as his model, the "pudica gesture," and the importance of small-scale versions of statues for dating the larger sculptures. The author also considers the function and religious significance of the small statues, and she includes the cultural context offered by the erotic poetry of Propertius and Ovid, two Roman poets who were fascinated by the robing and disrobing of their mistresses.The Aphrodite of Knidos is a highly readable, broad-based volume of interest to anyone familiar with classical art and the ancient world.Christine Mitchell Havelock is Professor Emerita of Art History and Curator of the Classical Art Collection at Vassar College. She has written and lectured widely on Greek art.

Listen to a short interview with Mary Beard Host: Chris Gondek Producer: Heron & Crane It followed every major military victory in ancient Rome: the successful general drove through the streets to the temple of Jupiter on the Capitoline Hill; behind him streamed his raucous soldiers; in front were his most glamorous prisoners, as well as the booty he'd captured, from enemy ships and precious statues to plants and animals from the conquered territory. Occasionally there was so much on display that the show lasted two or three days. A radical reexamination of this most extraordinary of ancient ceremonies, this book explores the magnificence of the Roman triumph--but also its darker side. What did it mean when the axle broke under Julius Caesar's chariot? Or when Pompey's elephants got stuck trying to squeeze through an arch? Or when exotic or pathetic prisoners stole the general's show? And what are the implications of the Roman triumph, as a celebration of imperialism and military might, for questions about military power and "victory" in our own day? The triumph, Mary Beard contends, prompted the Romans to question as well as celebrate military glory. Her richly illustrated work is a testament to the profound importance of the triumph in Roman culture--and for monarchs, dynasts and generals ever since. But how can we re-create the ceremony as it was celebrated in Rome? How can we piece together its elusive traces in art and literature? Beard addresses these questions, opening a window on the intriguing process of sifting through and making sense of what constitutes "history."

In this widely acclaimed work, James Ackerman considers in detail the buildings designed by Michelangelo in Florence and Rome—including the Medici Chapel, the Farnese Palace, the Basilica of St. Peter, and the Capitoline Hill. He then turns to an examination of the artist's architectural drawings, theory, and practice. As Ackerman points out, Michelangelo worked on many projects started or completed by other architects. Consequently this study provides insights into the achievements of the whole profession during the sixteenth century. The text is supplemented with 140 black-and-white illustrations and is followed by a scholarly catalog of Michelangelo's buildings that discusses chronology, authorship, and condition. For this second edition, Ackerman has made extensive revisions in the catalog to encompass new material that has been published on the subject since 1970.