Piazza Venezia

Il Museo nazionale di Palazzo Venezia is a museum in Rome, housed in the palazzo of the same name. Belonging to MIBACT from December 2014, it is (along with the Library of archeology and art history) one of the 43 museums of the Polo Museale del Lazio. The main entrance is found on via del Plebiscito.

The Palazzo Venezia (Italian: [paˈlattso veˈnɛttsja]), formerly Palace of St. Mark, is a palazzo (palace) in central Rome, Italy, just north of the Capitoline Hill. The original structure of this great architectural complex consisted of a modest medieval house intended as the residence of the cardinals appointed to the church of San Marco. In 1469 it became a residential papal palace, having undergone a massive extension, and in 1564, Pope Pius IV, to win the sympathies of the Republic of Venice, gave the mansion to the Venetian embassy to Rome on the terms that part of the building would be kept as a residence for the cardinals, the Apartment Cibo, and that the republic would provide for the building's maintenance and future restoration. The palace faces Piazza Venezia and Via del Plebiscito. It currently houses the National Museum of the Palazzo Venezia.

Venezia is a metro station under construction on Line C of the Rome Metro system. Construction works started on 22 Jun 2023.

Madama Lucrezia (Romanesco: Madama Lugrezzia) is one of the six "talking statues" of Rome. Pasquinades — irreverent satires poking fun at public figures — were posted beside each of the statues from the 16th century onwards, written as if spoken by the statue, largely in answer to the verses posted at the sculpture called "Pasquino" Madama Lucrezia was the only female "talking statue", and was the subject of competing verses by Pasquino and Marforio. Madama Lucrezia is a colossal Roman bust, about 3 metres high, sited on a plinth in the corner of a piazza between the Palazzo Venezia and the basilica of St. Mark. The statue is badly disfigured, and the original subject cannot be identified with certainty, but may represent the Egyptian goddess Isis (or of a priestess of Isis), or perhaps a portrait of the Roman empress Faustina. The bust was given to Lucrezia d'Alagno, the lover of Alfonso d'Aragona, King of Naples; she moved to Rome after Alfonso's death in 1458.

The Palazzo Mancini is a palazzo in Rome, Italy. From 1737 to 1793 it was the second home of the French Academy in Rome. It is located on Via del Corso, about a block north of Piazza Venezia.

San Marco is a minor basilica in Rome dedicated to St. Mark the Evangelist located in the small Piazza di San Marco adjoining Piazza Venezia. It was first built in 336 by Pope Mark, whose remains are in an urn located below the main altar. The basilica is the national church of Venice in Rome.

Palazzo Bonaparte, formerly D'Aste Rinuccini, is a palace in Rome overlooking Piazza Venezia, in the Pigna district.

Palazzo Valentini is a palazzo in central Rome, Italy, not far from Piazza Venezia. Since 1873 it has been the base of the provincial and prefectural administration of Rome.

The Saint Susanna is a marble sculpture by François Duquesnoy. The work is one of four sculptures of Roman virgin martyrs commissioned by the Bakers' Guild to decorate the church of Santa Maria di Loreto in Rome. It was completed in the course of four years from 1629 to 1633. Giovanni Pietro Bellori, comparing Duquesnoy's achievement with the Saint Susanna to that of Polyclitus with his Doryphoros and its Kanon, commented [Duquesnoy has] left to modern sculptors the example for statues of clothed figures, making him more than the equal of the best ancient sculptor. The statue is considered by modern scholars an exemplification of Duquesnoy's 'Greek ideal,' which included an approach to drapery unpopular at the time, established through the study of antique models selected by Duquesnoy.Duquesnoy's maniera greca would later influence Johann Joachim Winckelmann, and through him the Neoclassicism movement. Jacob Burckhardt regarded the sculpture as "the best statue of the 17th century." With its clinging drapery juxtaposed to her modest gaze and clothing, Duquesnoy's Santa Susanna was considered by contemporaries an "admixture of eroticism and modesty." The figure follows the concept whereby "the drapery should not be so thick as to make it appear like stone, but must be arranged around the body in folds, so that the nude underneath is sometimes discernible but sometimes artfully concealed without any hardness which can obscure the members of the figure." Such approach was at odds with the spectrum of contemporary sculpture, specifically Bernini's expressive use of heavy, billowing drapery. Duquesnoy's St. Susanna doesn't look upwards to heaven, but down at humanity, with her hand pointing down to the altar. This, too, was at odds with Bernini's exuberance and mystification of naturalness and humanity.The Santa Susanna made a powerful impression on contemporary artists and critics, provoking "admiration as well as critical debate over its style and relation to the antique." However, the sculpture did not become widely recognized outside Rome until 18th century. In the early 18th century, Domenico de Rossi's engraving of the statue helped to initially increase its celebrity, which was consolidated internationally when a copy by Coustou was completed and sent to the Paris' academy at the Louvre in 1739.

Santa Maria di Loreto is a 16th-century church in Rome, central Italy, located just across the street from the Trajan's Column, near the giant Monument of Vittorio Emanuele II.

Trajan's Column (Italian: Colonna Traiana, Latin: Columna Traiani) is a Roman triumphal column in Rome, Italy, that commemorates Roman emperor Trajan's victory in the Dacian Wars. It was probably constructed under the supervision of the architect Apollodorus of Damascus at the order of the Roman Senate. It is located in Trajan's Forum, north of the Roman Forum. Completed in AD 113, the freestanding column is most famous for its spiral bas relief, which depicts the wars between the Romans and Dacians (101–102 and 105–106). Its design has inspired numerous victory columns, both ancient and modern. The structure is about 30 metres (98 feet) in height, 35 metres (115 feet) including its large pedestal. The shaft is made from a series of 20 colossal Carrara marble drums, each weighing about 32 tons, with a diameter of 3.7 metres (12.1 feet). The 190-metre (620-foot) frieze winds around the shaft 23 times. Inside the shaft, a spiral staircase of 185 steps provides access to a viewing deck at the top. The capital block of Trajan's Column weighs 53.3 tons, and had to be lifted to a height of about 34 metres (112 feet).Ancient coins indicate preliminary plans to top the column with a statue of a bird, probably an eagle. After construction, a statue of Trajan was put in place; this disappeared in the Middle Ages. On December 4, 1587, the top was crowned with a bronze figure of Saint Peter the Apostle by Pope Sixtus V, which remains to this day.Trajan's Column was originally flanked by two sections of the Ulpian Library, a Greek chamber and a Latin chamber, which faced each other and had walls lined with niches and wooden bookcases for scrolls. The Latin chamber likely contained Trajan's commentary on the Roman-Dacian Wars, the Dacica, which most scholars agree was intended to be echoed in the spiralling, sculpted narrative design of Trajan's Column.

Palazzetto Venezia (formerly Palazzetto di San Marco) is a Renaissance palace rising on one side of Piazza Venezia, in the historic center of Rome, Italy. The building underwent several alterations over the centuries until 1909, when it was demolished and a slightly modified version was rebuilt a short distance from its original position, tto allow the enlargement of Piazza Venezia as part of the construction of the Vittoriano. Since 2006 the building has been part of the Museum of Palazzo Venezia and its upper loggia houses the lapidarium.