Domus Tiberiana

The wide, rectangular terrace of the modern Farnese Gardens covers the northern part of the Palatine Hill and is all that remains of the 16th-century buildings on the hill. In fact, this large flat area is just a kind of hanging garden hiding what remains of the home of Emperor Tiberius (14-37 AD), who was Livia's real son and also became Augustus' adopted son.

Just as Augustus strove to emulate the great Caesar, so his successor strove to emulate him. In the same way that Augustus chose the Palatine Hill for his palace, Tiberius and all subsequent emperors built their residences there. By this time it had become known as the most splendid and expensive place in Rome. But Tiberius inherited neither Octavian's remarkable intellect nor his modesty.

With Tiberius, the palaces grew from the simple and modest home of Augustus to large and rich buildings. In fact, the Domus Tiberiana, probably 150 metres long, 120 metres wide and over 20 metres high, was the main house used by the Antonine emperors. It also housed a library and the imperial archives, which burned in a fire during Commodus' reign (176-192 AD).

Outside there was a magnificent display of gardens with statues, water lilies and fountains, terraces and balconies enclosed by intricately carved marble railings, staircases, tree-lined paths and bright flower beds. Inside, the interior was embellished with beautiful frescoes and mosaic floors, rich columned doorways and other ornamental details.

It is thought to be the first imperial palace to be built on the Palatine Hill, probably on the site of the house where Tiberius was born, and incorporating other neighbouring residences from the late Republican period. Caligula later enlarged the Domus Tiberiana, reorienting it to face the Roman Forum. The work was completed by Emperor Nero and later renovated by Domitian. It was during this reconstruction that the great door to the Forum was built. It served as the headquarters of the Praetorian Guard, which was founded by Augustus and continued by Tiberius.

The building was finally demolished when the church of Santa Maria Antiqua was built over it. A large peristyle defines the central area, surrounded by rooms that allowed air and light to enter. A corridor extends from this area and probably ends near the rooms found next to the temple of the Magna Mater. It is probable that other corridors were connected to those of Nero's Domus Transitoria, as several unexcavated passages are visible.

18 rectangular rooms can be seen, built entirely in brick and decorated with vaults. These buildings can be dated back to the time of Nero, for they were certainly rebuilt after the fire of 64. The eighth room, on the right, preserves part of the painted ceiling with panels of figurative images, including a female figure, a panther and some birds, all dating from the 3rd century AD.

In the southern corner there is an oval marble basin with steps, which could have been used as a vivarium to keep fish. This part of the palace covers an area of about 150 by 120 metres. It is situated on a slope next to the Clivus Victoriae and was built in two phases. It begins in the time of Domitian and consists of apartments ending in a large loggia supported by huge travertine corbels closed at the front by marble grilles.

The next phase belongs to the time of Hadrian, with later additions, where the rooms gradually rise above the Clivus Victoriae, supported by massive arches. Inscriptions found on the plastered walls of these later structures - some of which clearly show lists of mathematical calculations and the names of various coins - make it clear that this room was used for imperial taxation and, most probably, for the distribution of newly minted coins. Later, these rooms were used as storage rooms.

The Cryptoporticus

On the south-eastern flank of the Domus Tiberiana, there is an underground passage about 180 metres long, lit by a series of skylights.

It was this vast cryptoporticus, now open to foot traffic, that connected the House of Livia - mother of Tiberius - and, by a transverse diversion, also gave access to the Domus Flavia. This cryptoporticus and others that have been discovered or partially identified formed a network of carriage routes that connected all the imperial palaces for the delivery of supplies and personnel.

Inside the cryptoporticus, the small loophole windows are only visible on one side of the vault. Some remnants of wall plaster with geometric patterns have been preserved, as well as pieces of the once complete coffered stucco work on the vault, where cherubs with plant motifs can be seen. A panel of this decoration is preserved in the Antiquarium del Palatino. The floor, which has survived in several places, is made up of white mosaic tiles with a border of plain black tiles.

The plundering

In the eighth century A.D., the Domus Tiberiana was still so splendid that it was chosen as the home of Pope John VII, who both began its restoration and altered its original form. Unfortunately, the restoration has not been preserved, because from the 10th century onwards, when the palace was abandoned, its materials were plundered and even burned in order to build new churches and houses for the patricians.

Nor did the Renaissance inspire the high clergy and Roman patricians to appreciate the grandeur of ancient Rome, despite the passionate pleas of great artists such as Raphael and Michelangelo to preserve these relics of history.

In the 16th century, what remained of the Domus Tiberiana had to be systematically buried to make way for the construction of the Farnese Gardens on the Palatine Hill. This was the project of Alessandro Farnese, the cardinal nephew of Pope Paul III.

The powerful prince asked his uncle to give him control of the area, ordered workers to cover the house with earth and rubbish, and commissioned Vignola to create a garden there. This was the beginning of the famous Horti Palatini Farnesiorum. The famous designer designed the courtyard on three levels, creating three beautiful paths connected by a complex system of steps and stairs.

In fact, Vignola borrowed heavily, perhaps intentionally, from the gardens of Rome, where there was frequent use of terraces framing views of great beauty and the pleasing order of steps, marble balustrades, terraces, statues and fountains that seemed to float in the air.

The Farnese Gardens began to decay in the hands of the Bourbons, their last owners, who decided to transfer to Naples most of the statues, ornaments and marbles that characterised or rather defined the garden. As they were great lovers of classical art and artefacts, their decision ultimately led to the demolition of the Renaissance buildings. Just as the popes demolished the Domus Tiberiana, so the Bourbons demolished the Renaissance Farnese Gardens.

The itinerary

The itinerary goes deep into the heart of the imperial residence, crossing the imposing arches of the service. In its hollow substructures on the north façade, it finds seven exhibition rooms, four of which offer an absolutely intimate view of the Roman Forum.

There are also two multimedia rooms opposite with documentary and holographic reconstructions of the monument. A tactile path accompanies the visitor in his journey through the rooms, enjoying the architectural wonders recently restored, the great baths and related amenities, as well as the intricate stucco surfaces embellishing what is known as Caligula's Bridge, surrounded by paintings depicting scenes of courtly life.

The layout of the museum follows a thematic path through the rooms of the Hadrianic substructure, which was designed to house services, shops and probably offices.