St Andrew's Church, Rome

San Caio (English: Saint Caius; sometimes also spelled San Cajo) was an ancient titular church in Rome, possibly dating from as early as the third century. It was demolished in the late nineteenth century.

The Capitolium Vetus (Latin for ‘old Capitol’ or ‘ancient Capitol’) was an archaic temple in ancient Rome, dedicated to the Capitoline Triad. Vetus distinguishes it from the main temple to the Triad on the Capitol and shows that it was the older of the two and possibly the oldest temple in Rome dedicated to them. It was on a site in what is now the Trevi district, to the north of the Quirinal and to the north-west of the Ministry of Defence. Its dedicatory inscriptions were found near the ministry.

The Quattro Fontane (the Four Fountains) is an ensemble of four Late Renaissance fountains located at the intersection of Via delle Quattro Fontane and Via del Quirinale in Rome. They were commissioned by Pope Sixtus V and built at the direction of Muzio Mattei, and were installed between 1588 and 1593. The figure of one fountain is said to represent the River Tiber, in front of an oak-tree; a she-wolf, the symbol of Rome, was a later addition. A second fountain represents the River Aniene, a tributary of the Tiber, called Anio in ancient Rome, which provided most Roman aqueducts with water. Pope Sixtus proposed to build a canal to bring the water of the Aniene to Rome. The other two fountains feature female figures believed to represent the Goddess Diana; the symbol of Chastity; and the Goddess Juno, the symbol of Strength, but it is possible that they may also represent rivers. The fountains of the Aniene, Tiber, and Juno are the work of Domenico Fontana. The fountain of Diana was designed by the painter and architect Pietro da Cortona. The later Baroque church of San Carlo alle Quattro Fontane, by Francesco Borromini, is located near the fountains, and takes its name from them. Until 1964 the Via Quattro Fontane was home to the Pontifical Scots College.

The Italian Numismatic Institute (Istituto italiano di numismatica) is an Italian body for the study of numismatics, based in Palazzo Barberini at 13 via Quattro Fontane.

The Palazzo Barberini (English: Barberini Palace) is a 17th-century palace in Rome, facing the Piazza Barberini in Rione Trevi. Today, it houses the Galleria Nazionale d'Arte Antica, the main national collection of older paintings in Rome.

Judith Beheading Holofernes is a painting of the biblical episode by Caravaggio, painted in c. 1598–1599 or 1602, in which the widow Judith stayed with the Assyrian general Holofernes in his tent after a banquet then decapitated him after he passed out drunk. The painting was rediscovered in 1950 and is part of the collection of the Galleria Nazionale d'Arte Antica in Rome. The exhibition 'Dentro Caravaggio' Palazzo Reale, Milan (Sept 2017-Jan 2018), suggests a date of 1602 on account of the use of light underlying sketches not seen in Caravaggio's early work but characteristic of his later works. The exhibition catalogue (Skira, 2018, p88) also cites biographer artist Giovanni Baglione's account that the work was commissioned by Genoa banker Ottavio Costa. A second painting on the exact same subject (see below) and dated to 1607, attributed by several experts to Caravaggio but still disputed by others, was rediscovered by chance in 2014 and went on sale in June 2019 as "Judith and Holofernes".

Narcissus is a painting by the Italian Baroque master Caravaggio, painted circa 1597–1599. It is housed in the Galleria Nazionale d'Arte Antica in Rome. The painting was originally attributed to Caravaggio by Roberto Longhi in 1916. This is one of only two known Caravaggios on a theme from Classical mythology, although this is due more to the accidents of survival than the artist's oeuvre. Narcissus, according to the poet Ovid in his Metamorphoses, is a handsome youth who falls in love with his own reflection. Unable to tear himself away, he dies of his passion, and even as he crosses the Styx continues to gaze at his reflection (Metamorphoses 3:339–510).The story of Narcissus was often referenced or retold in literature, for example, by Dante (Paradiso 3.18–19) and Petrarch (Canzoniere 45–46). The story was well known in the circles of such collectors in which Caravaggio was moving in this period, such as those of Cardinal Francesco Maria del Monte and the banker Vincenzo Giustiniani. Caravaggio's friend, the poet Giambattista Marino, wrote a description of Narcissus.The story of Narcissus was particularly appealing to artists according to the Renaissance theorist Leon Battista Alberti: "the inventor of painting ... was Narcissus ... What is painting but the act of embracing by means of art the surface of the pool?"Caravaggio painted an adolescent page wearing an elegant brocade doublet, leaning with both hands over the water, as he gazes at this own distorted reflection. The painting conveys an air of brooding melancholy: the figure of Narcissus is locked in a circle with his reflection, surrounded by darkness, so that the only reality is inside this self-regarding loop. The 16th century literary critic Tommaso Stigliani explained the contemporary thinking that the myth of Narcissus "clearly demonstrates the unhappy end of those who love their things too much."

The Galleria Nazionale d'Arte Antica or National Gallery of Ancient Art is an art museum in Rome, Italy. It is the principal national collection of older paintings in Rome – mostly from before 1800; it does not hold any antiquities. It has two sites: the Palazzo Barberini and the Palazzo Corsini.The Palazzo Barberini was designed for Pope Urban VIII, a member of the Barberini family, by the sixteenth-century architect Carlo Maderno on the old location of Villa Sforza. Its central salon ceiling was decorated by Pietro da Cortona with the visual panegyric of the Allegory of Divine Providence and Barberini Power.The Palazzo Corsini, formerly known as Palazzo Riario, is a fifteenth-century palace, rebuilt in the eighteenth century by the architect Ferdinando Fuga for Cardinal Neri Maria Corsini.

The Bust of Antonio Barberini is a portrait sculpture by the Italian artist Gian Lorenzo Bernini. The figure is Cardinal Antonio Barberini, the younger brother of the Pope Urban VIII. It was executed some time in the 1620s.

The church of San Carlo alle Quattro Fontane (Saint Charles at the Four Fountains), also called San Carlino, is a Roman Catholic church in Rome, Italy. The church was designed by the architect Francesco Borromini and it was his first independent commission. It is an iconic masterpiece of Baroque architecture, built as part of a complex of monastic buildings on the Quirinal Hill for the Spanish Trinitarians, an order dedicated to the freeing of Christian slaves. He received the commission in 1634, under the patronage of Cardinal Francesco Barberini, whose palace was across the road. However, this financial backing did not last and subsequently the building project suffered various financial difficulties. It is one of at least three churches in Rome dedicated to San Carlo, including San Carlo ai Catinari and San Carlo al Corso.

The Temple of Quirinus (Latin : Aedes Quirinus or Templum Quirinus) was an ancient Roman temple built on the western half of the Quirinal Hill near the Capitolium Vetus, on a site which now equates to the junction between Via del Quirinale and Via delle Quattro Fontane, beside Piazza Barberini. Domitian later built the Temple of the gens Flavia nearby.According to ancient authors, the temple of Quirinus was built and dedicated to Quirinus (the deified form of Romulus) by the consul Lucius Papirius Cursor in 293 BC.If still in use by the 4th-and 5th century, it would have been closed during the persecution of pagans in the late Roman Empire. Fieldwork conducted by Andrea Carandini employed ground penetrating radar on the Quirinal Hill, revealing possible remains of the temple.

The Teatro delle Quattro Fontane ('Theatre of the Four Fountains'), also known as the Teatro Barberini, was an opera theatre in Rome, Italy, designed (in part) by Gian Lorenzo Bernini and built in 1632 by the Barberini family. From 1632 to 1637 it was located in a large room inside the Palazzo Barberini at the Quattro Fontane. In 1639, it was moved to a new, free-standing building, northeast of the palace and adjacent to the garden. By 1830, the theatre had closed, and the building was used for other purposes. It was demolished in 1932.