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The Museum of the Walls of Rome is located in a representative place of the city, the interior of Porta San Sebastiano opened in the Aurelian Walls.
Symbolic for several reasons: under the name Porta Appia it was the entrance to the city of the Regina Viarum road of the same name. That position also gave it for a time the name Porta Domine Quo Vadis.
In 1536 Antonio Da Sangallo transformed it into a triumphal arch for the entry of Emperor Charles V into the city.
And in 1571 the triumphal procession for Marcantonio Colonna winner of the Battle of Lepanto passed through there.
Over the centuries, the Gate and the walls that house it have been filled with inscriptions, effigies and other notable documentary evidence. These, together with the Gate’s excellent state of preservation, make it an ideal location for this Museum.
The Gate’s last major internal modifications were due to Ettore Muti, Secretary of the National Fascist Party, who occupied and used it from 1941-43.
The exhibition itinerary takes place on the first and second floors of the Gate, and is divided into three time sections: ancient, medieval and modern. The rooms are divided between the eastern and western towers that border the light of the Gate.
The towers are connected by the inner passage with large windows above the opening of the Gate. In each section, photographic panels narrate the walls as a whole and the many details, not only artistic but also functional, that adorn them.
In addition, to delve deeper into the topic of Roman walls, the techniques of construction but also those of military attack to expel them are described. Other unique aspects of the building, which also hosts temporary art exhibitions, include the view visible from one of the towers and parts of the patrol path.
Heavily damaged by the wear and tear of time and a 2001 collapse; secured but not yet repaired.
When we speak of the walls of Rome we mean the six distinct defensive systems developed over the centuries, from urban origins until the 17th century. A set of architectural infrastructures that are still largely visible or at least clearly discernible.
In this, Rome is the only European capital to have preserved almost the entire circuit of walls and gates. This is a sign of an advanced technical ability that is also reflected in other great works such as aqueducts, bridges, temples and other monuments, even bimillenary ones.
The historian Titus Livy, who lived around the time of Christ’s birth, wrote in his work “Ab Urbe Condita” a symbolic expression concerning Romulus, the legendary founder of Rome. “so henceforth may anyone who dares to step over my walls die.”
In this way Romulus seized power himself, and the newly founded city was named after its founder. Proof of the fundamental importance of the border/wall concept for Roman culture, history and civilization.
