The Capitolium

is the spiritual centre of Rome, just as it was the religious centre of ancient Rome. It stands on a low hill, the Capitoline (one of the seven hills on which the city is built), and its terraces command a vast panorama with a view of the remains of ancient Rome and the buildings of medieval and modern Rome in a wide sweep. On its two crests stand the Arx Capitolina, which was a rock dedicated to June, and the temple of Jupiter Optimus Maxims. Between the two summits, in the hollow which is now the Piazza del Campidoglio, there was in ancient times the Asylum, that is to say the place made accesible to the plebs by Romulus, so that they might dwell there in safety.

In the course of the centuries, the hill underwent various transformations and

alterations, until it took on its present aspect which is mainly the result of Michelangelo's plan.

He built a great ramp from Via del Teatro Marcello, the new centre of Rome to

the Capitol, because the hill was only accessible from the old centre. This great ramp, leading up to the Piazza, was designed by Michelangelo, like all the rest of the square, to the commission of Pope Paul III. On the way up there is on the left the monument to Cola di Rienzo by Masini (1887). On top of the ramp leading to the Capitol, there are, on either side, the statues of the Dioscuri, Castor and Pollux, with their horses, providing a touch of the Renaissance to the Capitoline hill.

Michelangelo partially transformed the already existing Senator's Place, connecting

it with the square by means of a large staircase (in part altered and reduced in the execution, giving a hint that baroque is on its way) . He then built the two palaces at the sides (the Palazzo dei Conservatori and the Palzzo dei Musei), enlivening their facades with a powerful order of pilasters, and making them diverge slightly towards the centre in order to bring the palace in the background seemingly nearer. This also indicates the upcoming influences of Baroque.

The geometric pattern on the pavement of the square, conceived in the form of

expanding and crossing eliptical shapes was also designed by him, and harmonises well with the architecture of the whole. In 1535 Michelangelo took the statue of Marcus Aurelius from the Lateran and set it up in the centre of the square; it is the sole remaining example of the equestrian statues of the Roman imperial period. There are various theories and legends to explain the reasons which made it possible for this monument to come down to us. The main reason, however, is to be found in the fact that it was long thought to represent the Emperor Constantine, the first to allow the practice of the Christian religion.

In the space created by the divergence of the stairs leading to the Senator's Place,

Micelangelo had a fountain placed with statues representing the Goddess of Rome in the centre, and the Nile and Tiber on either side. The statue of Rome Triumphant was originally a statue of Minerva but Pope Sixtus V, who during his pontificate had started a vigorous campaign to revitalise Christianity, threatened to have the Capitol demolished, unless all the statues dedicated to pagan deities were removed. Nevertheless he agreed to have this statue transformed into that of Rome Thriumphant, after the Goddess's sword had been replaced by a cross.