Les  musées du Capitole  sont un ensemble de musées d'artet d'archéologie situés sur la Place du Capitole à Rome.  Ce sont les plus anciens musées du monde. Leurs collections comprennent des statues en marbre ou en bronze, des peintures, desmosaï ques et des inscriptions, toutes en provenance de Rome et de sa région. Elles sont conservées dans les deux palais de la place du Capitole, le palais Neuf et le palais des Conservateurs, ainsi qu'à la centrale Montemartini, dans un faubourg de Rome.

Les musées du Capitole sont créésen  1471 par le pape Sixte IV  pour accueillir quatre exceptionnelles statues de bronze, jusque là conservés au palais du Latranet données au peuple romain : la  Louve capitoline,  le Camille,  le  Tireur d'épineet deux fragments d'une statue colossale de Domitien (la tête et une main tenant un globe). Commele précise l'inscription conservée au palais des Conservateurs, il s'agit nond'une donation mais d'une « restitution » : « il jugea queces remarquables statues de bronze, témoignage de la grandeur antique du peuple romain qui les avait créés, devaient lui être restituées et données sansréserve ». Sixte IV choisit pour abriter les bronzes la colline du Capitoline, dominéealors par le vieux palais sénatorial, lui-même bâti sur les restes du  tabularium, siège des archives romaines. La Louve est placée sur la façade du palais des Conservateurs, en remplacement du lion qui se trouvait là jusqu'alors, et devient le symbole de Rome.

En 1537, le pape Paul III  ordonne le transfert au Capitole de la statue équestre en bronze de Marc Aurèleet  etdemande à Michel-Angede  redessiner la place du Capitole pour l'accueillir. L'aménagement s'étalera sur un siècle : Michel-Ange remaniele palais sénatorial, qui donne sur le forum, mais la rénovation du palais des Conservateurs, à droite de la place, ne commence qu'en 1563. La première pierredu palais Neuf, jumeau de ce dernier, est posée en 1603. Le nouveau musée estinauguré en 1734, sous le pontificat de Clément XII. Entre temps, les papes ont continué à enrichir les collections du musée. Ainsi, la statue en bronze doré d'Hercule, découverte sur le Forum Boarium, rejoint très vite le groupe original de bronzes. En 1513, c'est au tour de deux statues colossales dedivinités fluviales. En 1566, Pie V, donne un lot de trente statues en provenance du palais du Belvédère, jugeant inconvenant que le successeur de Pierre conserve chez lui des idoles païennes. Dès 1523, les ambassadeurs vénitiens qualifient les collections capitolines des « plus belles et les plus célèbresau monde ».

The  CapitolineMuseums (Italian:  MuseiCapitolini ) are a group of art and archeological museumsin Piazza del Campidoglio, on top of the Capitoline Hillin Rome, Italy. The historic seats of the museums are Palazzo dei Conservatori and Palazzo Nuovo, facing on the central  trapezoidal piazza  in a plan conceived by Michelangelo Buonarroti in 1536 and executed over a period of more than 400 years. The history of the museums can be traced to 1471, when Pope Sixtus IV donated a collection of important ancient bronzes to the people of Rome and located them on Capitoline Hill. Since then, the museums' collection has grown to include a large number of ancient Roman statues, inscriptions, and other artifacts; a collection of medieval and Renaissance art; and collections of jewels, coins and other items. The museums are owned and operated by the municipality of Rome.

The statue of“amounted rider” in the centre of the piazza is of Emperor Marcus Aurelius. It is a copy, the original being housed on-sitein the Capitoline museum. Many Roman statues were destroyed on the orders of Christian Church authorities in the Middle Ages; this statue was preserved in the erroneous belief that it depicted the Emperor Constantine, who made Christianity the official state religion of the Roman Empire.

Musei Capitolini  costituisconola principale  struttura museale civicacomunale di Romae fanno parte del "Sistema dei Musei in comune". Utilizzanouna superficie espositiva di 12.977 mq. Si parla di "musei", al plurale, in quanto alla originaria raccoltadi sculture antiche fu aggiunta da  Benedetto XIV, nel  XVIII secolo, la Pinacoteca,costituita da opere illustranti soggetti prevalentemente romani.

Aperti al pubblico nell'anno  1734, sotto Clemente XII, sonoconsiderati il primo museo  almondo, inteso come luogo dove l'arte fosse fruibile da tutti e non solo daiproprietari.

米開朗基羅重新設計了這個廣場，這個廣場所有細節，以及地面鋪設的設計，均是出自米開基羅的手筆。它的布局略呈梯形，米開朗基羅在周圍新建建築物，代表了羅馬城新的政治中心，使其不再面向古羅馬廣場，而是面向聖伯多祿大殿，他設計了一個新的宮殿新宮Palazzo Nuovo；重新設計了保守宮Palazzo dei Conservatori，消除了所有的中世紀結構，與正中的元老宮Palazzo Senatorio一致。他在那裡增加了一個雙樓梯，用來進出面向廣場的新入口。米開朗基羅還設計了台階Cordonata和欄杆，通往山下的天壇廣場piazza d'Aracoeli。元老宮目前是羅馬市政府所在地，卡比托利歐博物館Musei Capitolini開放於1735年（世界上最古老的公共博物館）設在保守宮和新宮兩個樓宇內，由一個地下隧道連結。卡比托利歐廣場正中心是青銅鍍金的五賢帝最後一位馬爾庫斯·奧列里烏斯騎馬雕像Statua equestre di Marco Aurelio，由米開朗基羅自聖若望門廣場移來，現在廣場上的是複製品，原作保存在卡比托利歐博物館內。工程進展緩慢，以至於米開朗基羅只能看到完成進出元老宮的雙樓梯，但是工程仍按照原計劃繼續進行，在17世紀完成，直到1940年才按照藝術家的原始圖紙鋪設了路面。

(卡比托利歐博物館的正門在保守宮一側，主樓梯兩側是大型歷史浮雕，這些浮雕是從裝飾羅馬的公共紀念碑上搬過來的。 其中最著名的是從馬可·奧勒留紀念碑上搬過來的描繪馬可·奧勒留的，另外三個浮雕是描繪哈德良皇帝的。從馬可·奧勒留紀念碑上搬過來的Relief from honorary monument to Marcus Aurelius，雕刻於176-180年，350cm大小。)

(卡斯泰拉尼大廳：卡斯泰拉尼大廳展示的是從伊特魯里亞，拉丁姆，義大利南部最重要的考古遺址，挖掘的公元前四世紀左右的從希臘進口的陶瓷和在伊特魯里亞和拉丁姆本地生產的陶瓷。)

(中間的展廳還有君士坦丁一世的青銅像、地球儀和其左手。)

(這雕像在十六世紀放在廣場外（目前廣場上的是複製品），之所以能逃過基督教狂熱時代不被破壞掉，是因為被誤認為是君士坦丁大帝(306-37統治)的雕像，才逃過了中世紀天主教對羅馬文物的大破壞，而君士坦丁是基督徒。其實這是奧理略皇帝，生於西元121年。)

(保守宮收藏古代雕塑，大部分是古羅馬的，但是也有古希臘和古埃及的。保守宮建築的二樓是保民官住宅，現對公眾開放，收藏的著名作品有青銅母狼餵養羅慕路斯與雷穋斯，這是羅馬的著名標誌。保民官住宅擁有精美的內部裝飾，包括壁畫、掛毯，以及雕刻精美的天花板和門。三樓設有卡比托利歐美術館，有繪畫和應用藝術畫廊。)

Conservator’s Apartment have the rooms making up the apartment on the first floor of the Palazzo, were used by the Conservators, or magistrates, for activities connected to their office; they therefore form a single entity, both as regards their function and their ornamental features. The rooms were also used for Public and Private Council meetings.  The rich decoration of these reception rooms (frescoes, stuccoes, carved ceilings and doors, tapestries) has as its main theme the history of Ancient Rome, from its foundation to the Republican Age.  The earliest cycle of frescoes goes back to the beginning of the XVI century.  The main floor of the Palace houses the  Ceremonial Rooms of the Conservators, also known as the Apartment. They are the  oldest part of the Palace: some rooms preserve parts of the series of frescoes painted at the beginning of the XVI century, whereas the decorations of the other rooms were renewed after Michelangelo’s renovation. The whole decoration of the Apartment, though it was painted separately and subsequently, present a uniform appearance dedicated to the extolling and memory of the virtues and value of the Ancients. Some ancient bronze sculptures were also installed in these rooms: they were presented by Pope Sixtus IV to the Roman people due to their symbolic value, in memory of the greatness of Rome which the papal government intended to renew. The donation of the Sistine bronzes is considered to be the foundation of Capitoline Museums, since then several works of art, sculpture and paintings of value, were collected in the Capitol.

我超愛的鎮館之寶：貝尼尼的"蛇髮女妖美杜莎"。貝尼尼與古羅馬神話有關的雕塑共有五尊，除了《阿波羅與黛芙妮》，包括1615年製作的代表作之一《山羊艾默希爾》、1620年製作的《尼普頓與特萊頓》、1621年至1622年製作的《普若瑟比娜之擄獲》、以及1635年製作的頭像《美杜莎》。由於《山羊艾默希爾》的主角是天神朱比特，《普若瑟比娜之擄獲》的主人翁則是冥王普路托，加上與海神尼普頓及太陽神阿波羅有關的作品，故除了較後期的《美杜莎》之外，其餘四件作品都是與神話中最主要的神有關的。可見貝尼尼的選材頗為主流，而得出的效果是較端莊，與巴洛克藝術的特色吻合。美杜莎（希臘語：Μέδουσα），是希臘神話中的一個女妖，她的形象為有雙翼的蛇髮女人。根據詩人奧維德的《變形記》（Metamorphoses）所述，她原是一位美麗的少女，因為與海神私自約會（也有一些版本稱因美杜莎自恃長得美麗，竟然不自量力地和智慧女神比起美來，而被雅典娜詛咒），雅典娜一怒之下將美杜莎的頭髮變成毒蛇，而且給她施以詛咒，任何直望美杜莎雙眼的人都會變成石像，她因此成了面目醜陋的怪物。

Gian Lorenzo Bernini (1598-1680)

Bust of Medusa Sculpture, 1644-1648, Marble, cm 68

According to Ovid, the mythical Medusa had the power to turn the stone anyone who looked directly at her. Bernini's is a veritable portrait of the most beautiful and deadly of the Gorgons (this is, in fact, a Bust, and not a truncated Head) at the very moment of her metamorphosis. The classical myth is re-evoked according to the contents of a poem by Giovan Battista Marino ("I do not know if mortal chisel sculpted me thus, / or, in reflecting myself in a clear glass, /sight of myself made me such", from La Galeria, 1630, I, 272): Medusa, looking into an imaginary mirror and seeing her own reflection, is represented just as she realises, with horror and anguish, the mockery of it all. Right before our eyes she is being transformed into marble. Bernini intended his medusa to be a refined Baroque metaphor for sculpture and the virtue of the sculptor, who has the power to "petrify" those who admire his extraordinary ability to use a chisel. Inventory: inv. MC1166

“青銅母狼餵養羅慕路斯與雷穆斯像”羅馬城的建立傳說是:狼哺育出的雙胞胎嬰兒，羅慕路斯的祖先是愛神維納斯之子埃涅阿斯，他創建了羅馬城。羅慕斯與羅慕路是雙胞胎，小時候被國王遺棄在木盆裡並丟在台伯河，最後這兩兄弟自己從木盆爬出，他們的哭啼聲引來了母狼，而母狼並沒有傷害小孩，反而用奶水餵養他們。這個作品的狼是西元前五世紀的創作，下面的雙胞胎嬰孩Romulus和Remus是十五世紀加上的，波拉伊奧洛(Pollaiuolo)的作品，狼也成為羅馬的象徵。

The She-wolf, 5th century BC or medieval, Bronze, cm 75, with its evocative power, is the symbol of the city. The donation of Sixtus IV brought the statue to the Capitoline Hill. Initially, it stood in the fifteenth century facade of the palace. Then, it was transferred inside the palace, on the occasion of Michelangelo's architectural interventions. At that time, the twins were added, attributed to some by Pollaiolo. They transformed the ancient Lateran symbol of justice into "Mater Romanorum". The creation of the work, which originally had probably nothing to do with the legend of Rome's foundation, can be traced back to Etruscan or Magna Graecia workshops of the fifth century BC. Recently, based on the casting process analysis, it was suggested that it dates back to the Middle Ages. Acquisition data: Formerly at the Lateran. Sixtus IV donation (1471)  Inventory: inv. MC1181

(拔刺的男孩"The Spinario"西元一世紀的青銅作品，其完美的體態和專注的神情，聚精會神地拔刺，好似完全無視於任何人的存在。Spinario Sculpture, 1st century BC, Bronze, cm 73, Acquisition data: Formerly at the Lateran. Sixtus IV donation (1471) Inventory: inv. MC1186)

(三樓一上樓的地方有一對公元4世紀的馬賽克，代表老虎襲擊了一頭小牛，老虎的形象栩栩如生，在那個年代，應該算是最完美的馬賽克作品了。這些元素豐富的大理石裝飾也是在埃斯奎利諾山上發現的。在當時建築物的牆壁上布滿了美麗多彩的類似這樣的大理石鑲嵌。)

(NOT END YET. 內文未完 敬請期待。)

Musei Capitolini's website http://en.museicapitolini.org/