Campo Marzio

Santi Celso e Giuliano is a minor basilica and papal chapel of the Diocese of Rome in the care of the Institute of Christ the King Sovereign Priest. It has held its basilica status by custom and practice since ancient times. The church is located on Vicolo del Curato number 12, just off Via del Banco di Santo Spirito, the road leading to Ponte Sant'Angelo.

The Monument to Terenzio Mamiani della Rovere is a memorial statue to an 18th-century patriot and statesman, located alongside the Corso Vittorio Emanuele II at a small piazza along Via degli Acciaioli. Mamiani (1799–1885) was in life a liberal Catholic, and posthumously acknowledged as having been a free-mason: his service as both minister in the Papal States and under the Kingdom of Sardinia, later Senator in the Kingdom of Italy bridged contentious or warring factions. The City Council of Rome approved the construction of the statue, at a cost of 10,000 lire, on 25 May 1885, four days after his death. In 1889, it was decided to place the statue in the Piazza Sforza Cesarini, some four blocks southeast of the present position, alongside the Corso. The design of a monument by Mauro Benini was chosen by a committee led by the sculptor and council-member Ettore Ferrari. The ultimate cost was over 20,000 lire and paid out in various installments: 3000 lire paid for the initial design paid to Benini 4000 lire paid for a clay-plaster model 5000 lire paid for completion of the statue 7000 lire paid for the completion of the monument in situ 1000 lire for complete assemblyThe statue was inaugurated on 2 March 1893, in a ceremony attended by Terenzio's widow, Angela Mamiani della Rovere. During his life, Terenzio had published a work examining and praising of Nicola Spedalieri's opus Il Diritti dell'Uomo. Thus perhaps it is ironic that by 1927, another council in Rome decided to move Spedalieri's statue and monument from a busy street-piazza lot between the Palazzo Vidoni and Sant'Andrea della Valle, and place it in Piazza Sforza Cesarini, dislocating Terenzio to his present spot along Via degli Acciaioli. The statue in Carrara marble depicts the elder gaunt Terenzio, seated but alert and leaning forward, with a quill pen in his right hand, and a book in his left hand.

The Porta Aurelia-Sancti Petri was one of the gates of the Aurelian walls in Rome (Italy). It was originally called the Porta Cornelia. The Porta Cornelia was immediately west of the bridgehead of the Pons Aelius, the current Ponte Sant'Angelo. This is where the Via Cornelia began, from which the gate took its name. In the first centuries AD this was not an important road, but that changed with the rise of Christianity. Constantine the Great had Old St. Peter's Basilica built in the 4th century, over the Roman and Christian necropolis on Via Cornelia. Between 270 and 280 the great Aurelian Walls were built around Rome. The Vatican Hill was only sparsely populated and remained outside the wall. The Basilica and this northern entrance to Rome, however, had to be able to be defended, and between 401 and 403 the Emperor Honorius had the Mausoleum of Hadrian converted into the Castel Sant'Angelo. The Porta Cornelia was built into the defensive walls of the Castle and gave access to the Vatican from the city. The gate was demolished after the Middle Ages. It is no longer known what exactly it looked like. The gate was also known as Porta Aurelia Sancti-Petri because the important Via Aurelia could also be reached by this gate and Via Cornelia. However, there was already a Porta Aurelia on the Janiculum (today's Porta San Pancrazio} and the addition of Sancti Petri ("at St. Peter's") is therefore intended to distinguish between the two gates.

Palazzo Sacchetti (formerly Palazzo Ricci) is a palazzo in Rome, important for historical and artistic reasons. The building was designed and owned by Antonio da Sangallo the Younger and completed by Nanni di Baccio Bigio or his son Annibale Lippi. After Sangallo, the palace belonged among others to the Ricci, Ceoli and Sacchetti, important families of the Roman nobility. Among the artworks that decorate the interior, the cycle of frescoes depicting the Storie di David by Francesco Salviati represents an important work of Mannerism. The palace also housed hundreds of paintings that would become the nucleus of the Pinacoteca Capitolina. Palazzo Sacchetti is widely considered the most important palace in Via Giulia.

The Bust of Antonio Cepparelli is a sculptural portrait bust by the Italian artist Gian Lorenzo Bernini. It was executed around 1622. It is in the museum of the church of San Giovanni dei Fiorentini in Rome.

The Basilica of San Giovanni dei Fiorentini ("Saint John of the Florentines") is a minor basilica and a titular church in the Ponte rione of Rome, Italy. Dedicated to St. John the Baptist, the protector of Florence, the new church for the Florentine community in Rome was started in the 16th century and completed in the early 18th, and is the national church of Florence in Rome. It was lavishly decorated with art over the 16th and 17th centuries, with most commissions going to Florentine artists.

The Arch of Gratian, Valentinian and Theodosius (Latin: Arcus Gratiani, Valentiniani et Theodosii) was a triumphal arch built between 379 and 383 AD in Rome. It was situated at the south end of the Pons Aelius, near to the site later occupied by the church of San Celso. It formed as a monumental entrance arch to the bridge. It was built by Gratian, Valentinian II and Theodosius I from their own money. It was mentioned in the Einsiedeln Itinerary, the Mirabilia and the Ordo Benedicti. It was destroyed before the 14th century and the papacy of Pope Urban V, an era when it was described as destroyed. Some remains were still visible until the 16th century.

The Tor di Nona is a neighborhood in Rome's rione Ponte. It lies in the heart of the city's historic center, between the Via dei Coronari and the Tiber River. Its name commemorates the Torre dell'Annona, a mediaeval tower which once stood there and was later converted into one of the city's most important theatres, the Teatro Tordinona, later called the Teatro Apollo.

San Biagio della Pagnotta or San Biagio degli Armeni is a church in Rome, in the Ponte district, on via Giulia, near Palazzo Sacchetti. It is dedicated to Saint Blaise and is the national church of the Armenian community in Rome.

Ponte Sant'Angelo, originally the Aelian Bridge or Pons Aelius, is a Roman bridge in Rome, Italy, completed in 134 AD by Roman Emperor Hadrian (Publius Aelius Hadrianus), to span the Tiber from the city centre to his newly constructed mausoleum, now the towering Castel Sant'Angelo. The bridge is faced with travertine marble and spans the Tiber with five arches, three of which are Roman; it was approached by means of a ramp from the river. The bridge is now solely pedestrian and provides a scenic view of Castel Sant'Angelo. It links the rioni of Ponte (which was named after the bridge itself), and Borgo, to which the bridge administratively belongs.

The Monument to Nicola Spedalieri is a memorial statue to an 18th-century priest and political theorist (140–1795); the statue was installed in 1903 at the Piazza Forza Cesarini along the Corso Vittorio Emanuele II in central Rome, Italy. Spedalieri and his ideas, and thus the monument, have been variously disputed or celebrated by different factions. Spedalieri's most famous work, De' diritti dell'Uomo (1791), had a mixed reception. Written as a critique of the Declaration of the Rights of Man and of the Citizen approved by the French National Assembly in 1789, Spedalieri supports the idea of natural rights of man, and opposes a tyrannical law imposed by rulers claiming a divine anointment. However, he claims that the selfish desires of human nature need to be tempered by religious authority, specifically Roman Catholic morality. The anti-absolutist ideas in his writings stirred opposition from ruling authorities battling the rising Jacobin and republican forces. These notions led liberal forces of the 19th century to honor him as the origin of an Italian enlightenment about the rights of citizens. By the late 19th century, Rome, the new capital of the Italian Kingdom, was seeking to memorialize the past in ways that celebrated their political beliefs, but also the struggles for an Italian identity. The Corso had been widened and flanking areas embellished with a number of memorials to both recent heroes of the Italian independence, but also to historical opponents of the forces hindering an Italian identity, for example, Giordano Bruno's monument at Campo di Fiori. Spedalieri was an awkward figure to defend by Liberals, since he had also been supported and supportive in his day of the Papacy. This monument was first proposed in 1882 by the lawyer Giuseppe Cimbali, a native from the same town in Sicily where Spedalieri was born. In 1893 a committee was established to supervise a contest to erect a monument by the centennial of Spedialeri's death. None of the proposals received by 1894 were approved. A second round of proposals the next year led to the selection of the design by Sicilia sculptor Mario Rutelli. The site and inauguration of the monument were controversial, and the monument was first unveiled, without ceremony, in Piazza Vidoni (alongside the church of Sant'Andrea della Valle) in the middle of the night of 23 November 1903. In 1951, because of the busy location, the statue was moved to the present Piazza, where it replaced the Monument to Terenzio Mamiani, which was then moved about four blocks north to a park at the intersection of the Corso and Via Acciaioli. Paradoxically Mamiani had written scholarly reassessments of Spedialeri's works that kept the latter's influence current.The monument is a bronze statue on a pedestal. Spedalieri stands with this opus of Diritti dell'uomo in his left hand. His vestments are not ecclesiastical. Below, on the pedestal is a wreath with the Trinacria, a symbol of Sicily, surrounded by palm leaves. The 1903 inscription reads that the new Italy memorializes Spedalieri.

Santa Maria del Suffragio is a 17th-century church in the center Rome, Italy. It lies on the via Giulia, in the rione Ponte. In 1592, the Confraternita del Suffragio ("Fraternity of those who succor the suffering") was a purgatorial society established adjacent to the church of Saint Biagio della Pagnotta; their goal was to pray for the spirits of the dead and dying. Two years later, the group received a charter of approval from Pope Clement VIII. In 1620, it was elevated to Arciconfraternita by Pope Paul V. Having outgrown their premises, the group acquired in 1607, part of an unfinished site that originally had been destined to be the Bramante-designed Palace of the Courts. In 1662, the architect Carlo Rainaldi designed the church, which was completed by 1669, with interior decorations continuing till 1685. The interior has frescoes by Cesare Mariani (Coronation of the Virgin). The third chapel on the right has a Birth of Mary and an Adoration of the Magi by Giuseppe Chiari. The third chapel on the left once had the Passion of Christ frescoed on the walls by Lanfranco. The frescoes with the Eternal Father in Gloria and the Assumption in the choir are by Giovanni Battista Beinaschi.