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The Basilica Emilia was built in 179 BC. Consuls Marcus Emilie
Lepidus and Marcus Fulvius Nobiror. It was a long rectangular
building with perimeter columns. The basilica was 100 meters (328
feet) long and about 30 meters (98 feet) wide. On the sides there
were two orders of 16 arches, and it could be reached through one of
three entrances.
Politicians, businessmen and other prominent
figures of Rome gathered here. In a sense, this is an ancient Roman
form of lobbying. In addition, published or tax often visited here.
They agreed with government officials to collect a certain amount of
money and preserve their shares. Not surprisingly, Bible writers
hated and despised this particular group of people because their
business methods were immoral. The people collecting taxes were
hated by the people of ancient Rome everywhere.
A new
basilica was built on the site where in the 5th century BC there
were meat shops (tabernae lanienae), and in the 4th century bankers
(tabernae argentariae) were located. There were two shops near the
square. The first basilica was built behind the taverns between 210
BC. and 195-191 BC, the date referred to by Plaft. Archaeological
research has shown that this building consisted of three naves,
paved with the tuff of Monteverde. The building had a large façade
with a portico, which opened onto the Forum Piskatoriy and Macellum
(an area then occupied by the Nerve Forum). The basilica was
preserved until 410 AD. until the Visigoths capture the city. They
burned Basilica Emilia. The heat from the fire was so intense that
the coins melted and remained so far in the marble floor.
Tabernae lanienae, argentariae and novae
On the north-eastern side
of the Piazza del Foro they were attested in the 5th century BC. the
tabernae lanienae, which housed the sale of meat and were replaced at
the end of the 4th century BC. from the tabernae argentariae,
headquarters of the bankers, preceded by the wooden maeniana or
balconies; the façade was adorned in various stages with the shields
stolen from the defeated enemies. Rebuilt after the destruction suffered
in the fire of 210 BC. they took the name of tabernae novae (while those
on the opposite side of the square, not touched by the fire, were called
tabernae veteres).
Basilica cited by Plautus
A first basilica
behind the tabernae argentariae was probably built between 210 BC. and
195-191 BC, the date on which Plautus seems to attest to its existence
(in the Captives and in the Curculio). From the remains seen in the
excavations, the basilica seems to have been divided into four naves
paved with tuff from Grotta Oscura, with the rear facade preceded by a
portico that overlooked the Forum Piscatorium and the Macellum (in the
part later occupied by the Forum of Nerva) .
The oldest basilica
would therefore not be the Catonian one testified by Livy (built by Cato
the Censor in 184 BC), but the one mentioned by Plautus dating back to
the end of the third century. This first basilica was none other than
the Atrium regium (in Greek αὐλή βασιλική, place where the king-basileus
administered justice in the Hellenistic period), a building located
between the fish market and the Via Sacra, whose foundation is
attributed by tradition in Numa.
This legendary attribution to
the second king of Rome hides the real Hellenistic root of the Emilia
basilica on the initiative of the Aemilii family, of which it was
destined to represent the tangible sign of their wealth and power. In
fact, Marco Emilio Lepido, censor in 179, had been appointed by the
Senate to protect the king of Egypt Ptolemy V Epiphanes in 201-200 BC.
On the occasion of his mission to Alexandria he had thus had the
opportunity to evaluate the effectiveness of the great hypostyle halls
in which the Hellenistic monarchs gave public manifestation of their
power.
Fulvia-Aemilia Basilica
The second phase with respect
to the basilica cited by Plautus is represented by the new building
wanted by the gens Emilia, a direct subsidiary of the Atrium Regium. The
building, built by the censor of 179 Marco Fulvio Nobiliore (colleague
of E. Lepido), had the name of Basilica Fulvia. Following the censor's
death it was perhaps completed by the other censor Marco Emilio Lepido.
Starting from him, numerous exponents of the gens Aemilia took care of
the restorations (in 78 BC, 54 BC, 34 BC, 14 BC after a fire and 22), so
that the building took the name of Basilica Aemilia. In this phase the
central nave was enlarged at the expense of the rear portico, which was
narrowed, and must have had three naves with wooden architraves, paved
in travertine. The central nave had to be raised, according to custom,
to allow the opening of windows in the upper part, which guaranteed the
lighting to the building.
An excavation of the oldest part, on
the west side, allows us to see how the plan of the building has not
substantially changed during the reconstructions (apart from the
increase of a nave on the north side, in order to exploit as much space
as possible ). The south side was the longest side that overlooked the
Piazza del Foro. Here the façade was composed of two superimposed orders
of sixteen arches, supported by pillars with semi-columns, which created
a front porch. Three entrances led inside, divided into four naves and
about 70 x 29 meters wide.
The Aemilia Basilica was embellished
by the consul of 78 BC, namesake of the censor of the previous century
(Marco Emilio Lepido), who affixed "clipei" (shields). This intervention
was commemorated by a coin in 61 BC, by the son, still of the same name,
the future triumvir Marco Emilio Lepido, in which the exterior of the
building is depicted with the clypei, probably the two-storey portico
that preceded the tabernae towards the piazza del Foro (or according to
some the back porch).
According to some scholars, however, at
this time the Basilica Aemilia was a separate building from the Fulvia
basilica, possibly built in 164 BC. by the censor Lucio Emilio Paolo and
located on the short south-eastern side of the square, where the temple
of Divo Giulio was later built. In this case, the ornamentation with the
clypei and the representation of the coin should refer to this building.
Paulli Basilica
A new basilica to replace the Fulvia Basilica was
under construction in 55 BC. by Lucio Emilio Lepido Paolo (another son
of the consul of 78 BC Marco Emilio Lepido and brother of the triumvir),
but financed by Caesar. It was inaugurated by the homonymous son of
Lepidus in 34 BC. with the name of Basilica Paulli.
The basilica
resumed the previous Basilica Fulvia, however shortened at both ends,
and with a second nave open on the back side, in place of the rear
portico. Equally open with columns were the terminations on the short
sides, while the wall that closed the side towards the forum, preceded
on the outside by the ancient tabernae, had to be decorated with
semi-columns.
The columns of the central nave had Corinthian
capitals and African marble shafts and bore a frieze with scenes from
the mythical history of Rome, those of the second row at the bottom had
instead cipollino marble shafts and finally the external columns had
Ionic capitals. The side aisles were covered with concrete vaults.
Nothing is known of the elevated above the first order at this stage.
Augustan phase
The new building, burned in a fire in 14 BC, was
rebuilt at the behest of Augustus in the name of another descendant of
the same gens Aemilia, re-using many of the architectural elements of
the Paulli Basilica and with the same plant. The columns of the four
naves were rebuilt in African marble (which actually came from Asia
Minor) and the marble floor currently visible also dates back to this
phase. The reconstruction was finished in 22 AD. and since then the size
of the Piazza del Foro was definitively fixed.
On this occasion
the tabernas (the ancient tabernae novae argentariae) that preceded the
basilica towards the piazza del Foro and the front porch were completely
rebuilt, structurally separated from the actual basilica. In the row of
tabernas, wider than the previous ones, the passageways towards the
interior of the basilica and the stairwells for access to the upper
floors were integrated. The portico was enlarged towards the square and
was dedicated to the emperor's two nephews, Caio and Lucio Cesari
(porticus Gai et Luci). The façade had two orders of arches framed by
pillars with Doric half-columns. Due to its considerable size it was
necessary to strengthen its structure with transversal metal "chains"
that contrasted the lateral thrusts of the roof vaults.
The upper
floors of the basilica, never completed or destroyed in the fire, were
completely rebuilt. Above the colonnade of the first order there was an
attic with pillars decorated with plant elements, wider at the columns,
joined by barriers, and thinner above the intercolumns. According to one
of the reconstructive hypotheses, the widest pillars were preceded by
statues of barbarians in ancient yellow marble and pavonazzetto above
the projections formed by the entablature of the first order in
correspondence with the columns of the long sides. Above the pillars ran
an entablature with travertine platbands covered with marble. This
intermediate floor above the aisles of the long sides seems to be
perhaps formed by separate chambers, each corresponding to an
intercolumniation.
Above this attic a second order of columns
rose on the long sides, again with African, cipollino and pavonazzetto
marble shafts, while on the short sides this floor had to be closed by a
wall towards the central nave.
Under Tiberius the building was restored in 22, again by a Marco
Emilio Lepido. In this restoration some of the intercolumniations of the
rear side were closed by walls and the colonnade of the second order was
similarly reinforced.
With the construction of the Temple of
Peace (75) and the Forum of Nerva (98), immediately behind the basilica,
the open colonnade of the rear facade was replaced by a continuous wall,
reinforced by buttresses.
The basilica suffered serious damage in
the fire under the emperor Carino in 283 and the wall towards the
tabernae was restored, on which the original marble elements were
relocated. After the portico a series of shops (tabernae) were rebuilt
in square tuff. It was also necessary to redo some blocks of the
trabeations of the second order and of the portico, which must have been
damaged in the fire.
Probably during the sack of Alaric in 410,
the basilica was completely destroyed by a fire, in which the coins of
the banks of the money changers that must have been located in the
building were melted on the marble floor and are still visible today
(the coins date back to the beginning of the 5th century).
The
central part of the south portico in front of it also burned in the
fire. Later a new floor was placed on the old slabs and the portico
sector was replaced by a portico with pink granite columns on bases,
much denser than the pillars of the previous portico. Three of these
columns were raised after the excavations and are still today on the
east side towards the temple of Antoninus and Faustina.
The end
of the Augustan portico towards the Curia was still standing in the
sixteenth century and its Doric order was imitated in the church of San
Biagio in Montepulciano by Antonio da Sangallo the Elder.
The
last remains were dismantled at the beginning of the 16th century, to be
reused in the construction of the Castellesi-Giraud-Torlonia palace in
the Borgo district.
Excavated in the 1930s, it was partially
reassembled using the remains of the late imperial columns found.
Original Construction (179 BC): Built by censors Marcus Aemilius
Lepidus and Marcus Fulvius Nobilior as a large public hall for legal,
commercial, and social activities. Early phases used local materials
like tuff (volcanic rock) and travertine limestone from Tivoli.
Republican Renovations: Expanded and modified multiple times by the
Aemilian family (e.g., 78 BC and around 54–34 BC). A notable addition
was a sculptural frieze depicting scenes from Rome’s mythical history.
Augustan Reconstruction (after 14 BC fire): The most significant phase,
supervised by Augustus (who dedicated it to the gens Aemilia). Completed
around 22 BC/CE, it was praised by Pliny the Elder as one of Rome’s most
beautiful buildings. This version featured extensive use of imported
marbles and a two-story design.
Later restorations occurred (e.g., AD
22), but it was largely destroyed in the Visigothic sack of Rome in 410
AD.
Today, only foundations, pavement fragments, column bases
(stumps of africano marble), and some rebuilt elements remain visible in
the Forum. A reconstructed section of the interior frieze is displayed
nearby (e.g., in the cloister of Santa Francesca Romana).
Overall
Dimensions and Layout
Size: Approximately 100 meters (328 ft) long by
27–30 meters (89–98 ft) wide. The main hall was about 90m x 27m.
Orientation: Aligned along the northern side of the Forum Romanum
(parallel to the Basilica Julia opposite it), with the long facade
facing the Via Sacra and open Forum space.
Plan: Rectangular,
multi-aisled basilica form. It featured:
A central nave.
Double
aisles on at least one side (or single on others), separated by
colonnades.
A row of tabernae (small shops or chambers) along the
southwest (Forum-opposite) side, vaulted in concrete. Some had doors
connecting to the nave.
Likely no prominent apse (unlike later
basilicas), though some reconstructions suggest possible terminations.
Access via stairs from the Forum to a front portico.
The layout
emphasized movement and spatial hierarchy, with the nave as the primary
open space for gatherings.
Exterior Architecture
Facade and
Portico: A monumental two-story portico (sometimes called the Porticus
of Gaius and Lucius) faced the Forum. It featured arches supported by
columns/pillars, creating a rhythmic arcade. The lower order used
engaged Doric columns with fluted shafts, Attic bases, and egg-and-dart
capitals. The entablature included triglyphs, metopes (with bucrania and
shields), and a coffered cornice with modillions.
Upper Level:
Similar arcade with fewer arches/columns, topped by an attic story
supporting statues (including colossal Parthian prisoner figures on
decorated bases).
Materials: White marble veneer over a core of
tuff/travertine/opus quadratum. The overall effect was grand and
colorful.
Roof: Likely a pitched timber roof with tiles (red in many
reconstructions).
Visual reconstructions (common in modern models)
show a long, imposing structure with statues lining the upper levels and
a balanced, symmetrical facade.
Interior Architecture
Colonnades: The nave was divided from the aisles by two orders of
columns:
Lower: Larger africano (black-and-white) marble columns
(~0.85m diameter).
Upper: Smaller columns (~0.55m diameter).
A
second, closer row of columns on the northeast side provided extra
support.
Floors: Opulent opus sectile pavement with polychrome
marbles (giallo, cipollino, porta santa, etc.). The nave had richer
colors; aisles were simpler white marble.
Walls and Decoration:
Marble cladding throughout. The interior featured a notable sculpted
frieze (likely on the south wall or entablature) with narrative reliefs
of Roman history/mythology. Rich moldings, cornices, and possibly
painted or stuccoed elements.
Lighting and Atmosphere: Windows in the
upper levels and open design created dramatic light effects. The
architecture was designed for aesthetic pleasure, visual strategies, and
functional flow in an Augustan "superlative" complex.
Interior
reconstructions highlight the grandeur of the marble columns and
patterned floors.
Key Architectural Innovations and Significance
Material Luxury: Shift from Republican austerity to Imperial opulence
with massive use of imported colored marbles — a hallmark of Augustan
"marbleization" of Rome.
Structural: Use of concrete vaults in
tabernae; columnar systems for large, open interiors.
Typological
Influence: Helped standardize the Roman basilica plan (nave + aisles +
portico), influencing later civic halls and Christian churches.
Urban
Integration: Positioned prominently in the Forum, with tabernae
integrating commerce; the portico served as a public promenade.
Current Ruins: Visitors see marble column stumps, pavement sections
(with traces of 410 AD fire damage, like fused coins), and low walls.
Some elements have been restored or displayed on-site.
The basilica was originally built in 179 BCE by censors Marcus
Fulvius Nobilior and Marcus Aemilius Lepidus (hence the name) over
earlier shops and moneychanger stalls dating back to the 5th–3rd
centuries BCE. It was later rebuilt and expanded multiple times, notably
under Lucius Aemilius Paullus (around 55–34 BCE, with Julius Caesar’s
financial help) and again by Augustus after a fire in 14 BCE.
Pliny the Elder praised the Augustan version as one of the most
beautiful buildings in Rome.
It measured roughly 100 meters long by
30 meters wide, with a grand portico facing the Via Sacra, two storeys
of colonnades, luxurious marbles (including African/Ionic and Corinthian
columns), and decorative elements like shields and statues.
Function:
Primarily a commercial and civic hub — banking, business deals, legal
proceedings, and public gatherings. Shops (tabernae) lined the south
side.
It was largely destroyed during the Visigothic sack of Rome in
410 CE by Alaric. Melted bronze coins fused into the marble floor (still
visible) are a dramatic reminder of the fires from that event. Further
damage came from earthquakes and medieval spoliation (reuse of
materials).
A notable surviving feature is a sculptural frieze
depicting scenes from the life of Romulus (e.g., the rape of the Sabine
women, founding of Rome’s walls), now partially reconstructed and
displayed in the nearby cloister of Santa Francesca Romana (or in the
Roman Forum Museum).
What to See Today
The site is heavily
ruined, but key remnants include:
Marble pavement with fused coins
from 410 CE — one of the most evocative details.
Stumps of Africano
marble columns.
Foundations and outlines of the central nave, aisles,
and portico.
Traces of the tabernae (shops) along the Via Sacra side.
Informational panels on-site explaining its layout and history.
It’s best appreciated with imagination or a good audio
guide/reconstruction image. The scale becomes clear when you visualize
its former grandeur alongside the Curia Julia (Senate House) and Temple
of Antoninus and Faustina nearby.
Practical Visiting Information
(as of 2026)
Access: Included with the Roman Forum + Palatine Hill +
Colosseum ticket (part of Parco Archeologico del Colosseo). No separate
entry.
Standard 24h ticket: Around €18 (full price); reduced €2 for
qualifying EU citizens 18–25.
Valid for 24–48 hours (check current
rules) — you can enter the Forum/Palatine on one day and Colosseum on
another.
Buy online in advance via the official site
(ticketing.colosseo.it) — essential in high season to avoid long lines.
Opening Hours (Roman Forum/Palatine area):
Typically opens 9:00
AM (Colosseum at 8:30 AM).
Closes 1 hour before sunset; last
admission usually 1 hour before closing.
Summer (late March–Sept):
Often until ~7:15 PM.
Check the official Parco Colosseo site for
exact seasonal times, as they vary.
Location: Northeast side of
the Roman Forum, along the Via Sacra, between the Temple of Antoninus
and Faustina and the Curia Julia. Easy to spot as you enter from the
main Forum entrances.
In-Depth Visiting Tips
Best Time to
Visit:
Early morning (right at opening) for fewer crowds and better
light for photos.
Late afternoon for golden-hour lighting on the
ruins and a more peaceful atmosphere.
Avoid midday in summer — it
gets very hot with little shade in the Forum.
How Long to Spend:
15–30 minutes at the basilica itself if passing through. Combine with
2–4 hours total for the Forum (it’s large and hilly).
Route
Suggestions:
Enter the Forum and head right (north side) toward the
basilica early in your visit.
Walk the Via Sacra for context — the
basilica fronts this ancient main street.
Pair it with the Curia,
Temple of Antoninus and Faustina, and the Arch of Septimius Severus for
a logical flow.
Enhance Your Experience:
Use an audio guide or
app (official Parco Colosseo or third-party like Rick Steves or
GetYourGuide) for reconstructions and context.
Look for the melted
coins in the floor — a poignant historical detail.
Bring binoculars
or zoom on your camera for details on remaining fragments.
Practical Advice:
Footwear: Comfortable, sturdy shoes — the Forum has
uneven ancient stones, gravel, and slopes.
Sun/Weather: Hat,
sunscreen, water bottle (refill stations available). No shade at the
ruins.
Accessibility: Limited due to terrain; some ramps exist but
not everywhere. Wheelchair users should check official accessibility
info.
Crowds: The Forum is popular but less congested than the
Colosseum interior. Guided tours help skip some lines.
Photography:
Great angles from the path overlooking it; morning light highlights the
marble remnants nicely. Drones prohibited.
Combine with: Full day
ticket for Colosseum (morning) + Forum/Palatine (afternoon), or vice
versa.
Nearby Highlights:
Temple of Antoninus and Faustina
(well-preserved with columns).
Curia Julia (Senate House — interior
often visitable).
Basilica Julia (opposite side of the Forum square).
Roman Forum Museum for artifacts, including frieze fragments.