The Temple is traditionally held to have been dedicated by Emperor Maxentius to his son and co-consul Valerius Romulus, who died in 309 and was given divine honours. However, the temple's identification with Valerius Romulus is tentative, based on the spot-find of a coin dated to 307 CE showing the distinctive shape of the building, and a nearby dedication to Valerius Romulus as a divinised mortal.

The temple building was probably part of a rebuilding program of "incredible intensity" undertaken by Maxentius in the area, following a disastrous fire in 306; the project was only part-complete at his death. The temple has also been speculated as a rebuilding of the original temple of "Jupiter Stator", or one dedicated to Penates, restored by Maxentius.

Thought to have been initially conceived as temple-mausoleum, the Temple of Romulus would have served as both a religious and commemorative space. It is also possible that it may have been a smaller and local representation of the larger dynastic mausoleum of Maxentius. The consecration of Valerius Romulus as a divus (deified figure) aligns with broader imperial traditions of apotheosis practiced by Roman emperors to solidify political power and divine legitimacy. The dedication of the temple also reflects Maxentius’s attempts to establish a counter-narrative against Constantine during their rivalry for control of the empire. The architectural grandeur of the temple, combined with its prominent location along the Via Sacra, underscored its symbolic role in perpetuating Maxentius's vision of imperial continuity and authority.

circa 300 CE

Though, originally believed to have been built during the reign of emperor Maxentius, the records about its history are scant at the time.

Following Constantine's defeat of Maxentius at the Battle of the Milvian Bridge in 312 CE, the temple's original pagan functions gradually diminished as Christianity became the dominant religion of the empire. By the 6th century CE, the building was repurposed as part of the Church of Saints Cosmas and Damian, established by Pope Felix IV. The Christian adaptation integrated the temple into a larger basilica complex, with the ancient bronze doors and much of the original architectural framework retained.

The so-called "temple of Romulus" was Christianised and dedicated to Sancti Cosma et Damianus in 527, when Theodoric the Great, king of the Ostrogoths, and his daughter Amalasuntha donated the library of the Forum of Peace (Bibliotheca Pacis, the main building behind the circular temple structure) and a portion of the Temple of Romulus to Pope Felix IV.

circa 300 CE

Exterior
The temple is notable for its circular plan (possibly a tholos), a form relatively common in Roman cultic-religious architecture. The building consists of a central cylindrical drum with thick brick walls and a diameter of approximately 15 meters. The façade facing the ancient Via Sacra is characterized by two fluted Corinthian columns framing a large bronze door that retains much of its original material. This monumental entrance is topped by a curved pediment supported by an entablature adorned with classical architectural motifs. The thick brick walls of the structure were originally clad in marble, now largely lost, giving the temple a grand and imposing appearance during its period of use.

circa 300 CE

Interior
The interior of the cella reveals evidence of sophisticated architectural planning, featuring niches that would have housed statues or votive offerings, further emphasizing the building's function as a space for veneration. The circular design and axial alignment with nearby structures, such as the Basilica of Maxentius, demonstrate Maxentius's efforts to create a coherent monumental complex symbolizing dynastic legitimacy and divine favor.

circa 300 CE

The temporary exhibition The Gaze of Time: The Roman Forum in the Modern Age, held at the Temple of Romulus, offers a historical perspective on the transformation of the Roman Forum. It highlights the site's evolution from a semi-rural landscape at the city’s fringe to the iconic archaeological site recognized today. This transformation, particularly significant following Italy’s unification and through 20th-century CE restoration efforts, is explored through visual and material culture. The exhibition presents digital reproductions and objects such as prints, models, scientific instruments, and memorabilia to examine themes like the rediscovery of antiquity, the Forum's material use, scholarly interest during the Grand Tour, and its political and civic roles during the nationalist era.

Curated by Roberta Alteri and Alessio De Cristofaro, the display draws upon extensive textual and iconographic research to convey the complex historical layers of the Forum. Eschewing traditional exhibition structures, it functions as a visual narrative offering insights into the site’s changing cultural significance. The curators focus on the documentary potential of objects rather than their artistic or economic value, presenting a hypertextual experience through images and short texts that invites reflection on the Forum's enduring historical and cultural relevance.