The Temple of Venus and Roma: Hadrian's Architectural Love Letter to His City

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Rome has always been a city of grand romantic gestures, and few rulers have left a grander legacy than the emperor Hadrian. Hadrian has many architectural feats to his name, not least the Pantheon, Castel Sant’Angelo and Hadrian’s Villa at Tivoli. But the Temple of Venus and Roma, the ancient city’s largest temple, may well be the most intriguing of all. For its riffs on a linguistic and architectural pun and shows us how even mighty Roman emperors liked to play. 

What Was the Temple of Venus and Roma?

The Temple of Venus and Roma was an enormous pagan temple on Rome’s Velian Hill, which occupied the space between the valley of the Colosseum and the Roman Forum’s Basilica of Maxentius. By the time of its dedication in 135 CE, the temple was the most ambitious temple Rome had ever seen, standing 31 metres in height upon a podium that measured 140 metres long and 100 wide.

What made this temple even more remarkable is that it was not the passion project of an architect, but of an emperor. Hadrian, unlike the majority of his imperial predecessors, was keenly interested in architecture and often clashed with his court over artistic decisions. According to one popular story, Hadrian’s star architect Apollodorus of Damascus once spoke out against Hadrian’s temple design, joking that the ceilings were so low the statues would surely smack their heads if they tried to stand up from their thrones. 

He paid for his words with his life, being banished from Rome and executed shortly afterwards.  

Hadrian dedicated this enormous temple to two of the most powerful deities in Roman mythology: Venus Felix and Roma Aeterna. Venus symbolised beauty, fertility, and the divine ancestry of Rome. She was the mother of Aeneas, Rome’s mythical founder and a precursor to Romulus and Remus, and, according to a pretty outrageous piece of propaganda, a divine distant ancestor of Julius Caesar, who dedicated the Temple of Venus Genetrix in his forum. 

Hadrian also worshipped Venus. In fact he even went further, depicting himself and his wife Sabina as Mars and Venus respectively in a pretty wild statue type that is on display in Paris’ Louvre Museum. But the temple he would erect was to Venus Felix, the “Bringer of Good Fortune”, who has left a linguistic legacy through the English word felicitous (fortunate). However, some would have known her simply as Amor (Love), the significance of which will soon become clear. 

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Bust of the emperor Hadrian (left) and his lover, Antinous from the British Museum.

Roma, or rather Roma Aeterna, was the other god to whom Hadrian dedicated this temple. She represented the might, resilience, and eternal nature of Rome’s empire—an imperium sine fine (Empire without end) as Jupiter promised Aeneas in Virgil’s epic poem, the Aeneid. The temple’s duality reflected the emperor’s belief that Rome’s supremacy was built not only on military conquests but also on cultural and artistic sophistication.

When Was the Temple of Venus and Roma Built?

Construction of the Temple of Venus and Roma began in 121 CE on the former site of Nero’s Domus Aurea (Golden Palace). The temple would come to occupy the site of Nero’s atrium, at the centre of which stood a colossal bronze statue of Nero dressed as the god Apollo. 

Nero’s statue had since been refashioned to remove any likeness of the disgraced emperor, but it still needed moving. And so Hadrian harnessed the strength of 24 elephants to move the Colossus to its last-known location, right outside the amphitheatre to which it gave its name.  

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Reconstruction of the Colossus statue of Nero outside the Colosseum, where Hadrian had it moved while building his Temple of Venus and Roma

The Temple of Venus and Roma was officially dedicated in 135 CE, but construction continued until 141 CE, completed under Hadrian’s successor, Antoninus Pius. By the time it was completed, the Temple of Venus and Roma was the largest cultic temple in Rome, a gargantuan granite column-lined structure set upon a Greek-style stepped stylobate, rivalled in terms of size only by the Temple of Serapis on the Quirinal Hill. 

Hadrian's “Palindrome” (Play on Words)

Hadrian was not your typical military-minded, simplistic, short-back-and-sides Roman emperor.  He was a culture vulture, a lifelong learner, and a lover of wordplay. One of the most fascinating aspects of the Temple of Venus and Roma—or Temple of Roma and Amor as it was commonly known—is its linguistic trick: the palindrome hidden in its very name.

In Latin, the words Roma (the personification of the city) and Amor (Love) are perfect reverses of one another. This clever wordplay subtly reinforces the idea that Rome is both the seat of power and a labour of love. But how do we know that this was a deliberate stroke of genius from Hadrian and not just a happy coincidence? Luckily for us, the design reveals all. 

How the Architecture Reflects This Palindrome

More than just a play on words, the Temple of Roma and Venus it was a play on space and symmetry. Its most striking feature was the back-to-back placement of the two cellae (inner chambers where the statue of the god was displayed). Here, colossal statues of Venus and Roma sat on thrones, with their backs to each other but facing in opposite directions—Venus/Amor toward the Colosseum, Roma toward the Forum. 

This wasn’t just an artistic flourish; it mirrored the linguistic symmetry of their names. By placing the goddesses in this arrangement, Hadrian created a physical manifestation of the palindrome: Roma and Amor, back to back in both name and form.

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F1: a longitudinal cross-section of the Temple of Venus and Roma. F2: the view facing the cella and the statue seated within

A row of four grand columns marked each entrance, leading to staircases that descended toward the Colosseum. The temple's design was grand yet harmonious, blending into the cityscape while asserting its dominance. Within Venus’ cella stood an altar where newlywed couples could offer sacrifices, reinforcing the temple’s role as a celebration of both divine and earthly love. 

Standing nearby were monumental silver statues of Marcus Aurelius (the elderly emperor from Ridley Scott’s Gladiator) and Faustina the Younger, a later addition that cemented the temple’s role as a site of imperial reverence.

The Temple’s Ill-Fortuned Legacy

When a fire tore through much of the temple in 307 CE, it fell to the emperor Maxentius to oversee its restoration. The temple’s current apsidal form with vaulted ceilings dates from Maxentius’ restoration, which cannot have taken more than five years since Maxentius went and accidentally drowned himself at the Battle of the Milvian Bridge in 312 CE.  

The temple fell out of use under Maxentius’ Christian successor, Constantine, whose rule ushered in the beginning of pagan persecutions. Like many pagan cultic temples, the Temple of Venus and Roma was gradually picked away from the fourth century onwards, as Christians repurposed the building materials of pagan structures to put towards their churches. In 630 CE, with the consent of Pope Honorius I, the temple’s gilt-bronze roof tiles were removed and repurposed for St. Peter’s Basilica in the Vatican. 

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Raphael's "Fire in the Borgo" in the Vatican Museums depicts the Old St. Peter's Basilica in the background

The fire of 307 was not the last disaster to lay waste to the temple. Few people are aware how much havoc earthquakes have historically wrought on Rome's ancient architecture—the Colosseum included. But in 847 CE, a violent earthquake reduced to rubble what remained of the temple, consigning its material to be recycled for construction projects around Rome. Just three years later, the Church of Santa Maria Nova—better known since the Middle Ages as the Church of Santa Francesca Romana—was built atop the temple’s former site. 

Time may not have been kind to the Temple of Venus and Roma, but recent decades seem to signal a tide change in fortunes. Since the papacy of John Paul II, the temple’s platform has acted as a public address podium for papal addresses and Good Friday ceremonies. In 2021, the newly restored temple was unveiled to the public, its facelift financed by the fashion house Fendi. In 2024, the Temple of Venus and Roma even hosted a small-scale music and film festivals.

The most life it has seen in nearly 1,700 years. 

See the Temple of Venus and Roma in Person

There’s no substitute for seeing these architectural marvels for yourself. So join one of our expert-led Colosseum tours to explore the heart of ancient Rome, including skip-the-line access to the Colosseum, Palatine Hill, and the Roman Forum. Access to the Temple of Venus and Roma is included in your tickets, so you can explore it to your heart’s content at the end of the tour. 

Ready to step onto the recently reopened Colosseum arena floor and stand in the shadow of Hadrian’s architectural masterpiece? Book your tour today to discover why Carpe Diem Rome is ranked among the top 1% of tour operators in Rome.

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Alexander Meddings
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Alexander Meddings is a professional copywriter and postgraduate in Roman history from the University of Oxford. After graduating with his MPhil, he moved to Florence and then Rome to carry out his research on the ground and pursue his passion at the source. He now works in travel, as a writer and content consultant, and in education as a university lecturer and translator.
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