The Trevi Fountain is one of Rome’s most iconic landmarks, drawing visitors to the eponymous Trevi Square all day long. Surprisingly, the fountain was not initially built in the heart of the city; instead, the city grew around it. Its name derives from the Latin word "trivium," which means “three streets,” as it sits at the junction of three streets: De Crocicchi, Poli, and Delle Muratte.

The fountain’s history dates back to 1629 when Pope Urban VIII commissioned Gian Lorenzo Bernini to redesign it, though his plans were never realized. Later, Pope Clement XII organized a competition in 1730, leading to Nicola Salvi's selection for the project, who incorporated the fountain into the rear of the Poli Palace. Salvi passed away before its completion. Giuseppe Pannini and other artists finalized the work in 1762.

Measuring over 26 meters in height and 49 meters in width, it is the largest Baroque fountain in Rome.

The Trevi Fountain features a Corinthian façade and bas-reliefs depicting the origins of the Acqua Vergine aqueduct, constructed in 19 BC. According to legend, a virgin guided Roman engineers to the aqueduct’s source, an event depicted in the fountain’s bas-reliefs. The aqueduct, which survived the Gothic invasions and was restored during the Middle Ages, still supplies water to the fountain today.

At the heart of the fountain is Oceanus, depicted riding a shell-shaped chariot drawn by two horses and guided by Tritons. The horses symbolize the sea’s contrasting moods-calm and turbulent. Flanking Oceanus are the statues of Abundance and Salubrity, representing prosperity and health. The symmetrical Rococo design combines dynamic artistry with Baroque grandeur, reflecting 18th-century European trends.

The Trevi Fountain is also known for the tradition of tossing coins, which promises a return to Rome. Popularized by the 1954 Hollywood film "Three Coins in the Fountain," visitors toss coins over their left shoulder with their right hand, generating daily about €3,000. This money, collected by municipal authorities, is donated to charity.

Celebrated in films like Roman Holiday and La Dolce Vita, the Trevi Fountain’s global fame is further evidenced by replicas worldwide. Access to the fountain is now limited to 400 visitors at a time, ensuring a more enjoyable visit to this timeless masterpiece. Surrounding the fountain are charming shops, restaurants, and gelaterias, making it a delightful spot to soak in Rome’s vibrant atmosphere.

Tip:
The fountain holds particular allure at night, especially after 10 pm when it is beautifully illuminated and the crowds dissipate, allowing you to enjoy the site almost exclusively.

The Victor Emmanuel II National Monument, also known as the Altar of the Fatherland, honors Italy’s first king and symbolizes the nation’s unification. Constructed from 1885 to 1935, its design was inspired by the Roman Forum. The neoclassical monument blends Hellenistic influences with modern urban design, featuring grand staircases, Corinthian columns, fountains, and statues, including a striking equestrian statue of Victor Emmanuel II.

Its dimensions are imposing, with a width of 135 meters and a height of 81 meters, including statues of the goddess Victoria atop quadrigas. Also adding to its grandeur are the two colossal Italian tricolors at the sides.

The monument's key features include the Tomb of the Unknown Soldier, inaugurated in 1921. Its eternal flames perpetually guarded by soldiers reflect classical traditions of remembrance. Sculptures like The Thought and The Action are complemented by allegorical decorations and mosaics highlighting Italian virtues, sciences, and intellectual achievements. The site also honors Italy's pre-unification legacy through sculptures of 14 historic capitals and other artistic elements.

Ascending the central staircase rewards visitors with a view of the monument itself but also a panoramic vista over the city. This elevated spot offers an ideal opportunity for capturing memorable photos. For added convenience, a lift was installed in 2007, enabling visitors to reach the rooftop and enjoy a bird's-eye panorama of Rome (please note that there is a small fee for the ride).

Flanking Venice Square, the Fountains of the Two Seas symbolize Italy's geographical unity, representing the Adriatic and Tyrrhenian Seas. Beneath the monument lies a crypt built with materials from World War I battlefields, creating a sacred space for reflection.

At the base of the complex, visitors can explore the Central Museum of Italian Unification, which chronicles the country’s history from the late 18th century to World War I, and the Shrine of the Flags, showcasing military flags and artifacts. The admission is free.

The monument is a centerpiece for national celebrations like Republic Day and Liberation Day. Although initially met with controversy and subjected to derogatory nicknames like the "wedding cake," it has become one of the city's most popular attractions after the Vatican and the Roman Ruins. Despite some locals considering it tacky, there is an undeniable allure in witnessing triumphal architecture that aspires to rival the grandeur of ancient structures.

Tip:
Visit the monument at night when it is beautifully illuminated.

The Roman Forum, once the pulsating heart of ancient Rome's public life, evolved from a simple marketplace around 500 BC into the epicenter of Roman political, social, and religious activity. Known as the Forum Magnum, it became a hub for triumphal processions, public speeches, elections, criminal trials, gladiatorial matches, and commerce. Statues and monuments celebrating Roman leaders solidified its status as one of history’s most significant meeting places.

Initially featuring early structures like the Regia (a royal residence) and the Temple of Vesta, the Forum developed into a formal assembly area called the Comitium, where the Senate and government convened. Over centuries, temples, tribunals, and public buildings, such as the Senate House and the Temple of Saturn, transformed the Forum into a multifunctional hub. The Basilica Aemilia, built in 179 BC, expanded judicial activities, while Julius Caesar’s enhancements, including the Basilica Julia and Curia Julia, underscored its role as a center for politics, commerce, and religion.

Despite its prominence, the Forum’s importance began to decline with the emergence of grander structures, such as Trajan's Forum and the Basilica Ulpia, to the north. Unlike the more planned Imperial Forums, the Roman Forum grew organically, reflecting a mix of architectural styles across periods. Constantine the Great’s construction of the Maxentius Basilica in 312 AD marked its final significant addition, temporarily restoring its political centrality. However, the fall of the Western Roman Empire in the 5th century AD led to the Forum's destruction and decline.

Today, the Roman Forum is a sprawling ruin but remains a priceless historical treasure. Though reduced to crumbling remains, it continues to captivate visitors, drawing nearly five million annually. Highlights of the site include the Sacred Street, the Arch of Titus, and remnants of iconic buildings like the Temple of Castor and Pollux.

What's known today as the Church of San Lorenzo in Miranda in the Roman Forum was adapted from the ancient Temple of Antoninus and Faustina. Like many other churches in Rome, this one was built over an older structure, reflecting the city's characteristic blend of ancient and modern layers. Although much of the structure has been modified over time, the original portico with its marble Corinthian columns remains intact.

Emperor Antoninus Pius, one of Rome’s so-called “Five Good Emperors”, built the temple in 141 AD to honor his deceased wife, Faustina the Elder, whom he deified. This marked the first time an empress was granted a permanent presence in the Roman Forum. After Antoninus Pius died in 161 AD, his successor, Marcus Aurelius, rededicated the temple to honor the imperial couple.

The structure was built on a high podium with an inscription on the façade declaring its dedication to the “divine Antoninus and Faustina” by order of the Senate. The portico, supported by eight massive Corinthian columns (each standing 17 meters tall), is the most striking feature, while its frieze, adorned with griffins, acanthus scrolls, and candelabra, later influenced Renaissance and Neoclassical art.

Coins from the era suggest the temple originally had a gated entrance from the Sacred Street and housed statues of Faustina and Antoninus Pius, fragments of which were later discovered. By the 7th century, the temple was converted into a Christian church, renamed after Saint Lawrence, based on the belief that his sentencing took place there. Over time, medieval modifications included attempts to dismantle the columns for materials and the removal of much of the temple’s original marble facing.

In the 15th century, Pope Martin V granted the church to the Guild of Apothecaries, which still operates a small museum nearby. During Emperor Charles V’s visit in 1536, parts of the church were demolished to restore the temple’s classical elements. Later, in 1602, renovations gave the church a single nave and three chapels, with notable artworks like Pietro da Cortona’s “Martyrdom of Saint Lawrence” and Domenichino’s “Madonna and Child with Saints.”

Today, the Church of San Lorenzo in Miranda represents a remarkable fusion of Roman antiquity and Catholic tradition, symbolizing Rome’s layered history within its ancient walls.

The Arch of Titus, an honorific arch on the Sacred Street, was built by Emperor Domitian around 81 AD. Its purpose was to commemorate Domitian's brother Titus’ victory in Judaea (which is modern-day Israel and Palestine) and his subsequent deification. The arch celebrates the Roman triumph over the Jewish revolt (also known as the Great Revolt), which resulted in the fall of Jerusalem in 70 AD. This victory brought over 60,000 Jewish slaves and immense wealth back to Rome, funding the construction of the Colosseum.

One of the only three surviving arches out of Rome’s original 36, the Arch of Titus provides a rare visual representation of the Roman triumphal procession of 71 AD. It also portrays Titus on horseback, symbolizing Rome’s dominance, and the Eagle, a representation of Roman power.

The Roman treatment of conquered people varied. Those who surrendered quickly were often incorporated into Roman society, while those who resisted fiercely-as in Judaea-faced brutal consequences such as mass slaughter, enslavement, and destruction of homes and livelihoods. The Jewish rebellion was crushed after the Romans breached three walls of Jerusalem over seven months, leading to one of the most devastating sackings of antiquity.

The arch's panels vividly depict scenes from this momentous event, offering one of the few contemporary representations of artifacts from Herod's Temple including the menorah, a multi-branched candelabra, used in the religious rituals of Judaism. While not explicitly mentioned, the panels closely mirror the narrative of the Roman procession described a decade earlier in the book titled "The Jewish War" written by Josephus, a first-century Roman-Jewish historian.

Beyond its historical importance, the Arch of Titus showcases a significant evolution in Roman art. The reliefs inside demonstrate early illusionistic techniques, giving a sense of depth and motion, a precursor to Baroque aesthetics nearly 1,500 years later. These artistic innovations highlight the stark contrast between the flourishing Roman Empire and the struggling tribes of northern Europe, who at the time still lived in primitive conditions.

As such, the arch had a long-lasting architectural influence, serving as a model for later triumphal arches, including the Arch of Triumph in Paris. Although the identity of its architect is uncertain, Rabirius, a favored designer of Emperor Domitian, is often suggested.

For Jewish communities, the arch remains a symbol of the diaspora. The menorah relief, a significant Jewish artifact depicted on the arch, later inspired the official emblem of the State of Israel. Today, the Arch of Titus is a must-see monument in Rome, linking the ancient past to modern history and symbolizing both Roman power and Jewish resilience.

The Palatine Hill, centrally located among Rome’s seven hills, is one of the city’s oldest and most historically significant areas. Often referred to as "the first nucleus of the Roman Empire," it is now a vast open-air museum.

Overlooking the Roman Forum and Circus Maximus, Palatine Hill became the desirable location for the homes of Rome's wealthiest citizens during the Republican era. During the Imperial era, starting from the reign of Augustus, it was an exclusive domain of emperors, featuring luxurious palaces like those of Augustus, Tiberius, and Domitian. Before imperial development, the hill had two summits, Palatium and Germalus, separated by a depression. Over time, the Palatine played a central role in Rome’s evolution, with continuous habitation traced back to the 10th century BC. Excavations reveal funerary huts from the 9th–7th centuries BC, aligning with the city’s mythological founding period.

The modern-day word “palace” is derived from the word “Palatine”.

Roman mythology enriches its legacy, as the hill was believed to be the site where Rome was reportedly founded. According to legend, it was on this hill that the twins Romulus and Remus, the legendary founders of Rome, were discovered by a she-wolf who raised them. When they grew up, the twins set out to build a city of their own. While Remus wanted to build it on Aventine Hill, Romulus had his mind set firmly on Palatine Hill. The brothers argued fiercely, and during the fight, Romulus killed Remus. He went on to build the city in 753 BC, calling it Rome, and reigned as its first king.

Monumental structures dominate the site, including the Palace of Domitian and the House of Livia, the latter renowned for its well-preserved frescoes. The House of Tiberius partially survives within the Farnese Gardens.

Extensive archaeological excavations, dating back to Augustus’ time, have uncovered significant finds, including Bronze Age artifacts and the Palatine House, thought to be the birthplace of Emperor Augustus. Modern investigations have revealed frescoed walls and mosaics, along with the Lupercal, the cave at the southwest foot of the Palatine Hill, where Romulus and Remus were suckled by the she-wolf.

Tip:
"Super" tickets provide access to the key attractions on the Hill, including the Roman Forum and Colosseum. Prepare with water, snacks, sunscreen, a hat, and sturdy shoes, as the steep paths and lack of vending machines can be challenging.

On October 28, 312 AD, Roman emperor Constantine had an epic battle with his rival, co-emperor Maxentius. It went down in history as the Battle of the Milvian Bridge. Victorious Constantine became the sole ruler of the Roman Empire, thus ending the system of Tetrarchy. He is generally regarded as the last great emperor of Rome.

The Arch of Constantine, Rome’s largest triumphal arch, was dedicated in 315 AD to commemorate Constantine’s victory. Located between the Colosseum and Palatine Hill, it spans the Road of Triumph, marking the route of Roman military parades. The arch stands 21 meters high, featuring three bays and incorporating elements from earlier monuments, including reliefs and statues from the reigns of Trajan, Hadrian, and Marcus Aurelius, reworked to celebrate Constantine.

Scholars have debated the arch's origins, suggesting it may predate Constantine and even have ties to Hadrian’s or Maxentius’s reigns. The arch exemplifies Late Antique artistic styles, with a blend of reused classical Greek-inspired elements and newly-created simpler, symbolic works. Reliefs from earlier monuments display classical proportions and dynamic movement, while the 4th-century additions feature rigid and geometric forms, reflecting changes in artistic priorities or economic constraints at that time. This stylistic contrast highlights the transition from Rome’s classical tradition to the evolving aesthetics of Late Antiquity.

Decorative elements on the arch include reliefs of Dacians from Trajan’s reign, panels depicting Marcus Aurelius’s military campaigns, and roundels from Hadrian’s era reworked to depict Constantine. A Constantinian frieze narrates his campaign against Maxentius, while inscriptions celebrate him as a pious and victorious leader.

One such inscription credits Constantine with saving the Roman people by divine inspiration. It refers to his vision before the Battle of Milvian Bridge in 312 AD, where he claimed to have seen a cross in the sky and heard the words: "In this sign, you will conquer." This event is often linked to Constantine's promotion of Christianity within the Roman Empire. The arch also balances pagan and Christian themes, symbolizing Constantine’s shifting religious stance during this period.

The Arch of Constantine's global influence as a monument includes the likes of the Arch of Triumph in Paris, the Marble Arch in London, Washington Union Station in Washington DC, and the American Museum of Natural History in New York City.

San Clemente is a most impressive archaeological site in Rome, renowned for its unique triple-decker structure. At its pinnacle sits the present-day basilica, erected in the 12th century. Below it lies a 4th-century church, built upon the remnants of a 2nd-century pagan temple dedicated to the god Mithras and ancient Roman apartments dating back to the 1st century. In 1857, Friar Joseph Mullooly initiated excavations beneath the basilica, unveiling these fascinating layers of history. Today, visitors can descend through time and explore all three levels, immersing themselves in the rich heritage preserved within.

The upper church, located at street level, exudes charm and splendor. Its apse features a radiant 12th-century mosaic depicting Jesus on the cross, transforming into a vibrant tree. Delicate green acanthus leaves dance across the mosaic, adorned with intricate scenes of daily life. The 4th-century marble choir screens showcase early Christian symbols, including doves, vines, and fish. Within the left nave, the Castiglioni chapel reveals frescoes created around 1400 by the Florentine artist Masolino da Panicale, renowned for his contributions to realism and perspective in Renaissance painting. Notable frescoes within the chapel depict the Crucifixion, scenes from the lives of Saints Catherine, Ambrose, and Christopher, and the Annunciation above the entrance.

Descending the stairs to the right of the sacristy and bookshop, visitors are transported to the 4th-century church, which remained in use until 1084 when it suffered irreparable damage during a siege led by Norman prince Robert Guiscard. Despite the passage of time, vibrant 11th-century frescoes depicting stories from the life of Saint Clement have endured. Of particular interest is the final fresco on the left, once part of the central nave. It showcases a captivating quote, including the unexpected phrase "Go on, you sons of harlots, pull!"-a rare and intriguing inclusion in a religious painting and an early example of written vernacular Italian.

Descending further down a set of stairs unveils the Mithraeum, a sacred shrine dedicated to the god Mithras. The cult of Mithras originated in Persia and gained popularity in Rome during the 2nd and 3rd centuries AD. These underground chambers served as a place of worship, mirroring the belief that Mithras was born in a cave. Stone couches, visible within the Mithraeum, served as seats for initiates who would gather to share meals. It is worth noting that many pagan shrines in Rome were dismantled by Christians, who often repurposed the sites by constructing churches atop them.

Why You Should Visit:
A very interesting glimpse into the ancient past – below street level!

Tip:
Bring a small flashlight for a closer inspection of the frescoes and wall paintings.

The Colosseum, Rome’s iconic elliptical amphitheater, is the largest ancient amphitheater ever built, covering 24,000 square meters. Constructed between 69 and 80 AD by the Flavian dynasty, it was initially called the Flavian Amphitheater. Its modern name stems from the Colossus of Nero statue that once stood nearby, with the term "Colosseum" emerging during the medieval period.

Built on the land reclaimed from Emperor Nero’s landscaped Domus Aurea complex after the Great Fire of 64 AD, the Colosseum represented a gift to the Roman people under Emperor Vespasian. It was constructed using travertine, tuff, and concrete and was funded by spoils from the Jewish War. The latter, fought in 70 AD, led to the Siege of Jerusalem and brought back numerous prisoners who largely contributed to the massive workforce needed for the construction. The amphitheater comprised four tiers that could hold between 50,000 and 80,000 spectators at a time. Its free-standing structure features three architectural orders – Doric, Ionic, and Corinthian.

The lowest tier was for the emperor and the royal family, the two middle ones were for the noble Romans and members of government, while the highest tier was for the ordinary citizens. The elaborate system included 80 entrances, passageways for crowd control, and numbered pottery tickets for seating. Admission was free and the main sponsor was the emperor himself.

The Colosseum hosted gladiatorial contests, animal hunts, and mythological reenactments. Events often featured exotic animals imported from Africa and the Middle East. Emperor Trajan's games, for example, involved over 11,000 animals and 10,000 gladiators over 123 days! The below-ground passages were used to bring men and animals into the arena, which was separated from the audience by a ditch. Occasionally, it was reportedly even flooded for naval battles. Executions were common during intervals, with the condemned facing wild beasts or acting out tragic myths.

During the medieval period, the Colosseum served as a fortress and even a stone quarry. Passers-by habitually chipped off pieces of it for souvenirs which, together with some natural causes like earthquakes, led to its partial destruction.

Despite popular belief that the early Christians were martyred here in numbers, evidence suggests that most executions occurred elsewhere. By the 17th century, the Colosseum became recognized as a sacred site. Today, it hosts the Pope’s Good Friday “Way of the Cross” procession.

Only the north side of the building, as well as the underground passages, have survived intact. The arena floor is totally gone. Inside the Colosseum, there's a historical exhibition with both permanent and changing displays.

Tips:
Visit early in the morning or late in the evening to avoid long queues and heat. The ground and first floors are open to visitors without a special ticket, while the subterranean part and the third floor are accessed on pre-booked tours only. Opt for a guided tour to skip lines and access the Forum area. Alternatively, buy tickets in advance or at the Roman Forum. Enhance your experience with an audio guide for detailed historical insights.

Emperor Trajan, who reigned from 98 to 117 AD, is best known for his military conquests. Prime among them were the Dacian Wars, resulting in the annexation of Dacia (which is modern-day Romania) and expanding the Roman Empire to its greatest territorial extent. Trajan's successful campaigns brought immense wealth to Rome, notably in the form of Dacian gold, which funded various public works.

Beyond military achievements, Trajan was admired for his relatively fair and just governance, implementing social programs such as the Alimenta, a welfare program for orphaned children and poor families. His reign is often seen as a high point in Roman history, marked by prosperity, effective leadership, and the expansion of the empire.

Trajan is also celebrated for his significant contributions to Roman architecture, including the construction of Trajan's Forum in 113 AD. Set to commemorate Trajan's military victories, particularly the conquest of Dacia, the forum was part of a larger complex that featured a vast, portico-lined square measuring 300 by 185 meters, enclosed by tall tuff walls clad in marble. The main entrance at the south end had a triumphal arch celebrating the Dacian Wars. The arch was adorned with friezes and statues depicting Dacian prisoners.

The forum's open space was paved in Carrara marble and connected to the Forum of Augustus. Key structures therein included Trajan's Market, the Basilica Ulpia, one Latin library and one Greek library, and Trajan’s Column.

Today, the forum is one of the most impressive and well-preserved ancient Roman sites. Although mostly in ruins, visitors can still see the iconic Trajan’s Column standing 30 meters tall, covered in a continuous frieze depicting scenes from the Dacian Wars. Also, don't miss the ruins of Trajan's Market. This structure – a series of multi-level buildings that once housed administrative offices and retail spaces – is often referred to as the world’s oldest shopping mall.