Exhibition: Greece in Rome - Capitoline Museums

Museo: Mostra "La Grecia a Roma" - Musei Capitolini

1. Introduction

Welcome to the exhibition "Greece in Rome," curated by Eugenio La Rocca and Claudio Parisi Presicce. I will guide you in discovering the enduring and fruitful bond that existed between Rome and the Greek world—a relationship shaped by commercial exchanges, military conquests, and cultural appropriations. This exhibition retraces, in five sections, the main stages through which Greek works arrived in Rome and became an integral part of its identity. This is the second event in the series "The Great Masters of Ancient Greece," a project promoted by Roma Capitale, Department of Culture, and the Capitoline Superintendence for Cultural Heritage, organized by Zètema Progetto Cultura. The exhibition was funded by the European Union's Next Generation EU program as part of the National Recovery and Resilience Plan (PNRR). It is included among the initiatives of "The Jubilee of Pilgrims: artistic and cultural events in the city of Rome, from the center to the outskirts, aimed at promoting tourism during the Jubilee period."

2. SECTION I: Rome Meets Greece

Since its foundation around the mid-8th century BC, Rome has maintained fruitful relations with the Greek world and imported refined artifacts, predominantly ceramics, intended to be placed in prestigious contexts such as sanctuaries and tombs. In the first section, the narrative begins with a small group of ceramics from the island of Euboea discovered in the sacred area of S. Omobono, and then continues with a selection of exceptional finds, including votive bronzes depicting a kore and a goat.

3. Map

Before you begin your visit, I invite you to take a look at the map in the entrance hall. It depicts the centers with which the Roman Empire came into contact between the 2nd and 1st centuries BC, highlighting the main battles fought to assert its dominance and the locations of shipwrecks that were transporting works of art across the Mediterranean. Now continue by entering the room immediately to your right. Your visit can now begin: I wish you an enjoyable experience!

4. Geometrics ceramics from the sacred area of S. Omobono

The history of the connection between Rome and Greece begins alongside the very founding of the city in the 8th century BC, when Rome was already engaged in vibrant commercial exchanges with other communities. The tiny ceramic fragments displayed in the showcase table at the back of the room are precious evidence of this. They come from excavations carried out in the area of the church of Sant’Omobono, right at the foot of the Capitoline Hill. The fragments are grouped by production areas corresponding to Greek or Magna Graecia centers, as indicated on the map to the right of the table. Even though it may seem surprising, a single fragment is often enough to reconstruct the original shape of the entire vessel.

5. “Group 125” from the Esquiline Necropolis

In the large wall display case, you can see a rich funerary assemblage known as “Group 125.” It was discovered in the necropolis that once stretched across the Esquiline Hill. The collection includes Corinthian vases of the highest quality, among which a jug stands out, bearing a Greek inscription: “of Kleiklo.” This may be the name of a merchant originally from Corinth who settled in Rome during the reign of Tarquinius Priscus, according to tradition. Now leave this room and continue along the exhibition route.

6. Greek imports from the roman forum

In the display case to your right are gathered the most significant Greek import artifacts found in the area of the Roman Forum. The oldest piece is the large fragment of an Attic black-figure krater depicting the return of Hephaestus to Olympus, carried on the back of a mule. This dates to around the mid-6th century BC and comes from the votive deposit of the Lapis Niger—Latin for "black stone"—the name given to the area paved with black marble near the Curia, where tradition placed the tomb of Romulus. In this area, the shrine of the god Vulcan has been located, a hypothesis supported precisely by the scene depicted on the vase. The display also features a selection of fragments from Attic red-figure cups, discovered during excavations by Sapienza University of Rome in the sanctuary of the Curiae Veteres, near the Colosseum. In this place, representatives of the city districts, called curiae, would gather on certain days of the year to share communal meals and drink wine together. In addition to the ceramics, there is also the small head of a young girl in marble, which belonged to a statuette imported from Magna Graecia and was perhaps placed as a votive offering in a sanctuary.

7. Greek imports between the VI and III centuries b.C.

Between the 6th and 3rd centuries BC, Rome continued to import high-quality Greek products, especially ceramics, but also distinctive items such as a cinerary urn made of Parian marble and small bronzes. Among these, notable examples include a statuette of a goat from a votive deposit on Via Magenta, near Termini Station, and a statuette of a young girl from Lavinium.

8. Amazon from the Esquiline Hill

At the center of the room, the fragmented terracotta sculpture of a wounded Amazon immediately draws the eye. The piece still retains the vivid colors originally used to paint the details of her garments, armor, and shield. If you approach and look closely at the torso, you can see a deep wound in her side from which streams of blood flow abundantly. The silhouette printed on the back of the display case helps us reconstruct the original scene: a battle in which the Amazon is depicted at the moment she is struck down by an enemy towering over her. The sculpture is considered the work of the Magna Graecian artists Damophilos and Gorgasos, who were active in Rome around 500 BC and are known from historical sources as the creators of the decoration for the temple of Ceres, Liber, and Libera on the Aventine Hill.

9. SECTION II: Rome Conquers Greece

The centuries-old bond between Rome and Greek art underwent a transformation with the arrival in the city of the spoils taken from Syracuse in 211 BC by General Marcus Claudius Marcellus: from that moment on, the Romans began to admire Greek works of art. The famous statement by Livy gives voice to the cultural turning point taking place in Rome between the end of the 3rd and the beginning of the 2nd century BC, and marks the transition to the second section of the exhibition: “Rome conquers Greece.” During the military campaigns conducted in Magna Graecia and the Eastern Mediterranean, Rome appropriated artistic masterpieces of inestimable value: marble and bronze statues, painted panels, engraved silverware, and luxurious furnishings. Over the course of the 2nd century BC, an enormous quantity of treasures was transferred to the Urbs, symbolizing the supremacy and power of the victorious generals. This section offers an overview of these precious artifacts, mostly in bronze, bearing witness to the splendor of the war spoils.

10. Ostia base

This section opens with a seemingly modest monument, yet one of great historical significance. It is a travertine block featuring slots for clamps on its upper surface and, on the front side, a two-line Greek inscription. The block was used as the base for the portrait statue of the philosopher Antisthenes, created by the bronzesmith Phyromachus, who was active in Pergamon between the 3rd and 2nd centuries BC. The transfer of the original work to Ostia is linked to Sulla, who was responsible for the sack of Athens in 86 BC. Next to the block is a 3rd-century AD herm with the bearded face of Antisthenes, which helps us reconstruct the appearance of the now-lost original.

11. Bronze room

During the 2nd century BC, thousands of bronze masterpieces arrived in Rome as spoils of war, most of which were later melted down in the Middle Ages as mere scrap metal. Given the rarity of surviving bronze artifacts, it is truly striking to see so many gathered together in one room. The horse and the portion of a bull were discovered together in 1849, in the Trastevere district, on Vicolo dell’Atleta—so named because it was there that the famous Apoxyomenos (the athlete cleaning himself with a strigil), now housed in the Vatican Museums, was found.

12. Horse

I invite you to take a closer look at the horse, an original from the 5th century BC attributed to the Athenian bronze sculptor Hegias, the master of Phidias. It was cast using the lost-wax technique; the eye sockets are hollow because the eyes were made of a different material, and the now-lost teeth and tongue were crafted separately in silver. Slowly walk around the piece to admire its slender proportions and the naturalism of its stance. Now stop by the left hind thigh: here you will find an inscription that can be read as "loco primo n. 28." This mark refers to the register of artworks placed in the public areas of the city of Rome: Locus primus may indicate the Capitoline Hill. Ironically, the horse has now returned to the very place where it was displayed for centuries in antiquity. And a final curiosity: the two legs displayed to the left of the horse are the originals. They were replaced with restored legs because they had become deformed and could no longer support the considerable weight of the sculpture, which exceeds 400 kg!

13. SECTION III: Greece Conquers Rome

“Greece, once conquered, conquered her fierce conqueror and brought the arts into rough Latium,” wrote Horace. With this phrase begins the narrative of the third section, “Greece Conquers Rome.” Much of the decorative and architectural sculpture brought from Greece by conquering generals found a home in public spaces such as squares, porticoes, temples, and libraries, vastly increasing the city’s splendor. These public displays adorned urban spaces and fueled a passion for Greek artistic civilization, which had by then become an essential part of every cultured Roman’s education. The section includes a video projection dedicated to the Temple of Apollo Sosianus, whose pediment was decorated with Greek sculptures depicting an Amazonomachy.

14. Palatine Apollo

Originally created as a cult statue for the Temple of Apollo at Rhamnous in Greece, the sculpture of the god was later rededicated in the Temple of Apollo Palatinus, inaugurated by Augustus in 28 BC. Only a precious fragment of the face survives from this statue, measuring an impressive 43 cm in height. From this, the total height of the body has been estimated at four and a half meters. Imagine it before you: an enormous presence, about two meters taller than the gilded bronze statue of Hercules displayed in the niche at the back of the hall.

15. Roof tiles and curved tiles from the Temple of Hera Lacinia in Crotone

In addition to statues, paintings, and precious furnishings, Greek architectural elements also arrived in Rome, such as the marble tiles and roofing slabs from the Temple of Hera Lacinia in Croton. General Quintus Fulvius Flaccus intended to use them for the roof of the Temple of Fortuna Equestris in the Campus Martius, which was vowed after his triumph and dedicated in 173 BC. However, this act was considered sacrilegious, and the tiles were sent back to Croton, where, however, no craftsman was able to reinstall them. Some of these architectural coverings have been found in the area and now return to Rome for this exhibition.

16. Nike spring

Let us now move to the central hall of the exhibition, where there is an extraordinary concentration of masterpieces. Take your time: stroll among the works as I tell you something about their history. Observe the sculptures placed along the central axis: the first is the torso of a female figure, dressed in a peplos fastened at the waist with a belt. On her chest, you can recognize one of the symbols of the goddess Athena: the aegis, a goatskin cloak decorated with the head of the Gorgon, serving a protective function. This statue specifically depicts an Athena Nike, that is, Athena as the victorious one. In fact, it originally had wings, which were inserted into the slots you can see on the back. On the base, you will find a reconstruction that helps you imagine its original appearance. Before moving on, take a close look at the marble: you will notice a slight sparkle. This is not an effect of the light, but a sign of its quality. It is lychnites marble, the most prized variety quarried on Paros, in the Cyclades, renowned since antiquity for its purity and luminosity.

17. Amazon on horseback

This sculpture, although fragmentary, also deserves a few words: it has arrived here from the other side of the world. It depicts an Amazon fighting on horseback; of the fallen enemy, only an arm wrapped in a cloak remains. The group was removed from a Greek temple building to be reused on a pediment in Rome, as indicated by the two large holes visible on the left side of the animal. Very little is known about either the original building or its Roman destination: only hypotheses and conjectures put forward by scholars remain.

18. Montalto acroterion

On the occasion of this exhibition, this graceful female statue has returned to Rome for the first time after two centuries of absence. It once belonged to the seventeenth-century collection of Cardinal Peretti Montalto. This is an acroterion, a sculpture that was positioned at the apex or corners of a pediment. The figure is depicted in flight, wearing a garment billowing in the wind that leaves her left breast and thigh exposed. She may represent a wingless Victory (Nike Apteros), or more likely one of the Aurae, personifications of the breezes. Over the years, the sculpture has undergone extensive restoration, which has altered its appearance: for example, the head is modern. The smoothing of the surfaces makes it resemble a neoclassical sculpture, complicating its stylistic and chronological classification. In this respect, comparison with the statue placed to its right is helpful.

19. Leda with the Swan

Here we have another acroterial sculpture, originally placed atop a temple for decorative purposes. The group depicts Leda as she welcomes the swan into her arms—Zeus himself concealed in this guise. Through this ruse, the father of the gods succeeds in seducing the maiden, who is already married to Tyndareus, king of Sparta. The detail of the slipped peplos, revealing the entire right side of the figure, including the breast, serves as a point of comparison with the Montalto acroterion displayed to its left. Both sculptures are dated to around 400 BC.

20. Templum Pacis room

In this small room, we present an in-depth focus on the Temple of Peace, the monumental complex built by Emperor Vespasian between 71 and 75 AD, whose remains can be seen along Via dei Fori Imperiali, near the Basilica of Saints Cosmas and Damian. On the wall in front of you, you can observe a reconstruction drawing of the building, which once housed ancient masterpieces of painting and sculpture collected from all over the world. During archaeological excavations in the area, statue bases—both intact and fragmentary—have indeed been found, including the one displayed to your right. It bears the inscription of the Athenian bronze sculptor Parthenokles, who lived in the second half of the 3rd century BC and was the creator of the sculpture once supported by this base. Return now to the central hall. You can now watch the video projection dedicated to the Greek pedimental sculptures reused in the Temple of Apollo Sosianus, located opposite the Theatre of Marcellus. If you wish to explore the 3D models used in the video, you can do so at the interactive station next to you. Please note that the original sculptures are on display at the Centrale Montemartini: I encourage you to go see them in person!

21. Fragments of Theseus' hair

Before moving on, pause for a few more moments in front of the display case containing the fragments of Theseus' gilded bronze hair. This kind of three-dimensional hairpiece was attached to the marble using pins set into rectangular slots. The effect was striking: the hero's head gleamed as if surrounded by a golden aura, capturing attention even from a great distance. For the exhibition, the surviving locks have been positioned on a 3D print of Theseus' head.

22. SECTION IV: Greek Works of Art in Private Spaces

Not only public monuments, but also private residences could be enriched with works of art of Greek origin. In the fourth section, the exhibition first presents the Greek sculptures that decorated the horti, that is, the residential complexes surrounded by greenery on the outskirts of central Rome, followed by sculptures from the grand villas of the imperial era, mostly located in the suburbs. These works allow us to reconstruct the refined atmosphere and the collector’s taste that characterized the residences of the Roman aristocracy.

23. Pediment with the massacre of the Niobids

The exhibition has provided the opportunity to reunite several pedimental sculptures originating from the area of Via Veneto, where in antiquity the Horti of Sallustius extended—named after Gaius Sallustius Crispus, one of the residence's owners. The sculptures, displayed side by side on the long podium to your right, were found in close proximity to each other, but today are dispersed between Rome and Copenhagen. They depicted the myth of the massacre of Niobe's children at the hands of Apollo and Artemis, who intervened to defend their mother, Leto: of the two female figures, one collapses, struck in the back by an arrow, while the other (present as a cast) flees. Finally, the reclining Niobid was placed as a filler in the left corner of the pediment.

24. Garden room

Upon entering this room, you will feel as if you are in the garden of a wealthy Roman residence. Ornamental sculptures kept in the home were often displayed outdoors or along the porticoes that surrounded the inner gardens of the domus. Here, the works could be placed on small pillars or set directly into the walls, blending with the painted decorations that adorned the spaces. In most cases, these were votive reliefs, but funerary monuments were not uncommon. Such is the case, for example, of the marble lekythos, the large, tall, slender vase on display in the room. This is the monumentalization of a ceramic form used in funerary rituals, transformed into a grave marker. If you approach the vase, you will see that the names of the deceased to whom the tomb belonged are inscribed on the two main figures: Phanos is seated on a high-backed chair, and Pausilla, standing before him, clasps his hand. At the center of the room, you can observe a monumental marble lion from the Gardens of Maecenas on the Esquiline Hill. It is one of three Greek lions found in Rome. These imposing sculptures were often reused as ornamental elements for fountains, where water could flow through a pipe inserted into the mouth.

25. Sculptures from the Esquiline gardens

We continue our journey among the original Greek works discovered in the private residences of ancient Rome. We are now in the room that displays pieces from the gardens of the Esquiline Hill, particularly from the estates of Maecenas and Aelius Lamia. On the left wall are several works from the Capitoline Museums, including the famous stele of a young girl with a dove. Next to it is the large votive relief of the Dioscuri, one of the most impressive of those that have reached Rome. Observe it closely: it is remarkably well preserved. At the center of the scene stands Helen, in the act of performing a libation in honor of her two brothers, followed by a procession of offerers.

26. GROUPS OF THE EPHEDRISMOS

The two groups you see side by side each depict a pair of young girls engaged in the game known in Greek as ephedrismòs, meaning “riding piggyback.” The game involved trying to knock down a stone placed at a certain distance by throwing other stones at it. The winner would be carried on the loser’s shoulders, who thus paid a sort of forfeit. It is precisely the scene of the punishment that was used as a decorative theme for the sculptures that adorned the sloping edges of the roof of a temple building in Tegea, dating to the late 4th century BC. The two sculptures, which were separated in antiquity when one was removed from its original context to be turned into a garden ornament, have been reunited for the first time on the occasion of this exhibition. Before leaving the room, take another walk around the central spine. Here you will find fragmentary sculptures from the storerooms of the Capitoline collections: these are Greek originals of the highest quality, whose provenance, however, remains unknown. For this exhibition, these works have been restored and studied, and some are being displayed to the public for the first time since their discovery.

27. Greek originals room in Imperial-Era villas

The absolute centerpiece of this room, displayed at the center in a dedicated case, is a life-sized ram’s head sculpted from Pentelic marble. Originally, it featured separately inserted eyes, a detail that heightened its realism. Despite its fragmentary condition and the restorations it has undergone, the refinement of its details and the elegance of its forms remain breathtaking even today. This is a collectible object discovered in the villa of Emperor Lucius Verus, located at the fifth mile of the Via Cassia, in the Acquatraversa area. This artifact gives us a tangible sense of the precious and sought-after objects with which Roman emperors loved to surround themselves.

28. Stele from Grottaferrata

In addition to the imperial residences, the villas of the Roman aristocracy also housed precious artistic treasures. A magnificent example is the funerary stele attributed to a villa in the territory of Frascati, displayed at the center of the wall at the back of the room. The work depicts a young man seated on a stool, his head bowed forward as he reads intently from a scroll resting on his knees. Beneath the seat lies a Molossian dog, an affectionate presence that adds an intimate touch to the scene. Notice the perfect compositional harmony: the gentle lines of the body, the elegant arrangement of the folds in the garments, the collected and silent posture. Everything contributes to creating a suspended, almost meditative image. This stele represents one of the highest achievements of classical funerary sculpture.

29. Small Niobids

From another Roman villa, also in the Frascati area, come three fragmentary sculptures conventionally known as the Small Niobids, although in reality they depict a subject that remains unknown. They are among the smallest Greek pedimental sculptures known today, bearing witness to original works of great value that were reused in Roman residential contexts.

30. SECTION V. Greek Masters in the Service of Rome

And here we are at the final section of the exhibition: in this room, you will find a selection of works created by Greek artists specifically for the Roman market. When the number of imported originals began to decline, while demand continued to grow, workshops sprang up in Athens, Delos, and later in Rome, specializing in the production of sculptures intended for the wealthy local clientele. The letters Cicero wrote to his friend Atticus reveal anecdotes and curiosities about the art market in the 1st century BC, its dynamics, and its main figures. We know, for example, that affluent patrons like Cicero himself chose what to buy and where to place it with great care, adapting each piece to its setting: statuettes of athletes to decorate a gymnasium, portraits of philosophers or writers to embellish a library. Some of these small-scale statuettes are displayed on the wall to the left.

31. Statues of Pan

Compare the two twin statuettes originating from a villa near Genzano, in the vicinity of Rome. You might even enjoy playing a game of "spot the differences": they are identical in form, but differ in the quality of the marble and in the content of the inscription carved on the small pillar next to the right leg. Both bear a Greek inscription with the name: Markos Kossutios Kerdon. However, on the statuette to the left, the artist describes himself as a "freed slave," a detail that does not appear in the inscription on the statuette to the right. You have reached the end of the exhibition. I hope this visit has been a pleasant and stimulating experience, and that the works, stories, and details you encountered along the way have helped to satisfy your curiosity. If you wish to continue your exploration, I invite you to also visit the Centrale Montemartini, where you can admire the original pedimental sculptures reused in the Temple of Apollo Sosianus. Thank you for your presence, and enjoy the rest of your journey discovering Rome and its history. Farewell!