San Michele a Ripa

Porto di Ripa Grande was the river port of Rome, just downstream the former Pons Sublicius, where the wares, going up and down the Tiber towards the dock of Fiumicino, were handled. The building of the muraglioni (massive walls) has erased its existence and function, just keeping a trace in the toponymy (the stretch of Lungotevere, that flanks San Michele a Ripa Grande, is called Porto di Ripa Grande, while Via del Porto is the narrow street that links the Tiber to Santa Cecilia in Trastevere and Santa Maria dell'Orto) and in the two ramps giving access to the quay of the river.

The Pons Sublicius is the earliest known bridge of ancient Rome, spanning the Tiber River near the Forum Boarium ("cattle forum") downstream from the Tiber Island, near the foot of the Aventine Hill. According to tradition, its construction was ordered by Ancus Marcius around 642 BC, but this date is approximate because there is no ancient record of its construction. Marcius wished to connect the newly fortified Janiculum Hill on the Etruscan side to the rest of Rome, augmenting the ferry that was there. The bridge was part of public works projects that included building a port at Ostia, at the time the location of worked salt deposits.

Porta Portese is an ancient city gate, located at the end of Via Portuense, where it meets Via Porta Portese, about a block from the banks of the Tiber in the southern edge of the Rione Trastevere of Rome, Italy.

Ponte Sublicio, also known as Ponte Aventino or Ponte Marmoreo, is a bridge linking Piazza dell'Emporio to Piazza di Porta Portese in Rome (Italy), in the Rioni Ripa, Trastevere and Testaccio and in the Quartiere Portuense. The most ancient bridge in Rome crossed river Tiber just downstream of the Tiber Island, in correspondence with the former ford that, during the protohistoric age, was a required stop along the north-south way, at the feet of the Aventine Hill. Its building has been ascribed to King Ancus Marcius (642 - 617 BC) by Livy and Dionysius of Halicarnassus.

Santa Maria dell'Orto is a Roman Catholic church in the Rione of Trastevere in Rome (Italy). It is the national church of Japan in Rome.

San Francesco a Ripa is a church in Rome, Italy. It is dedicated to Francis of Assisi who once stayed at the adjacent convent. The term Ripa refers to the nearby riverbank of the Tiber.

Blessed Ludovica Albertoni (Italian: Beata Ludovica Albertoni) is a funerary monument by the Italian Baroque artist Gian Lorenzo Bernini. The Trastevere sculpture is located in the specially designed Altieri Chapel in the Church of San Francesco a Ripa in Rome, Italy. Bernini started the project in 1671, but his work on two other major works—The Tomb of Pope Alexander VII and the Altar of the Blessed Sacrament in St. Peter's Basilica—delayed his work on the funerary monument. Bernini completed the sculpture in 1674; it was installed by 31 August 1674.

Villa del Priorato di Malta or Magistral Villa, located on the Aventine Hill in Rome, is one of the two institutional seats of the government of the Sovereign Military Order of Malta. Along with Magistral Palace, the estate is granted extraterritorial status by Italy. It also hosts the Grand Priory of Rome and the embassy of the Sovereign Order of Malta to Italy.

The Church of St. Mary of the Priory (Italian: Chiesa di Santa Maria del Priorato), also known as St. Mary on the Aventine (Italian: Santa Maria in Aventino), is the monastery church of the Priory of the Knights of Malta on the Aventine Hill in Rome, and is dedicated to the Blessed Virgin Mary. The first church on this site was built in 939, when Odo of Cluny was given the Roman palace of Alberic II of Spoleto, which was then converted into a Cluniac Benedictine monastery. When the monastery was dissolved in the 14th-century, the site was acquired by the Knights of Malta, who had the church rebuilt in the 1550s. In 1760, the papal nephew and Grand Prior of the Knights, Cardinal Giovanni Battista Rezzonico, sought to improve the appearance of the buildings. On a limited budget, the church was substantially renovated between 1764-66 according to the designs of Giovanni Battista Piranesi. It is his only architectural work. According to a 2019 account, he "consolidated the structure of the 16th-century church and raised the side walls...restored the vault and designed the decoration for its new aspect". Piranesi also designed the piazza in front of the church, the Piazza dei Cavaliere di Malta. The fairly low wall around the piazza is articulated by panels with paired obelisks with stelae positioned between them. The church facade has paired fluted pilasters towards its edges to infer a temple front. The vertical linearity of the fluted pilasters act as a foil to enhance the more decorative reliefs of the facade. The reliefs on this facade, the entrance gate and the panels and stellae in the piazza include emblems and other references to the military and naval associations of the Knights of Malta and the Rezzonico family heraldry. The way in which they are represented indicates Piranesi's fascination with Rome's ancient past as they allude to motifs from Ancient Rome and Etruria.Piranesi's decoration of the church interior culminates in the very sculptural main altar. The church contains Piranesi's tomb and that of Bartolomeo Carafa (died 1405) designed by Paolo Romano. The Grand Priory of Rome (a division Knights of Malta) with support from the Fondazione Roma finances the restoration of both the interior and exterior that lasted from 2015 to 2019.

Santa Cecilia in Trastevere is a 5th-century church in Rome, Italy, in the Trastevere rione, devoted to the Roman martyr Saint Cecilia (early 3rd century AD).

The Pontifical Institute of Arab and Islamic Studies (PISAI) traces the origins of its foundation back to 1926 and the work of the Missionaries of Africa (White Fathers) in Tunisia in a training centre for missionaries preparing to work in Muslim countries. In 1931 this foundation took the name Institut de Belles Lettres Arabes (IBLA). In 1949 it was decided to separate the teaching section from the other activities undertaken at IBLA which were more linked to the specifically Tunisian cultural scene. So a study centre was opened at Manouba (near Tunis) which welcomed students of Arabic language and Islamic sciences. Later, in accordance with a Decree of the Sacred Congregation for Seminaries and Universities dated 19 March 1960, this training institute was raised to the Pontifical Institute for Oriental Studies. In 1964, the Institute was transferred to Rome and its name changed to the Pontifical Institute for Arabic Studies thus avoiding any confusion with the already existing Pontifical Oriental Institute. In 1967, at the wish of Pope Paul VI, the Institute was situated in part of the Palazzo di S. Apollinare. The sole teaching language, other than Arabic, was French. In 1972 an English-speaking section was added. Italian was also adopted later. Since 1966, the Institute has had the faculty to award the Licentiate in Arabic and Islamic Studies at the end of a two-year course of study and preceded by a preparatory year. In accordance with Decree No. 292/80/5 of 25 May 1980, the Congregation for Catholic Education granted the Institute the authority to award the Doctorate. The name currently held by the Institute is the Pontifical Institute for Arabic and Islamic Studies (PISAI). Its new Statutes were approved by the Congregation for Catholic Education in Decree No. 826/79 on 13 September 2008.

San Giovanni Battista dei Genovesi (Saint John the Baptist of the Genoans) is a Roman Catholic church on via Anicia in the Trastevere district of Rome. It is the regional church for Genoa. It was built between 1481 and 1492 by the wealthy Genoan Meliaduce Cicala, treasurer of the Camera Apostolica. It was an addition to a hospital for Genoese sailors which Cicala built at porto di Ripa Grande. In 1533 the Confraternity of Genoans was founded to administer the church and the hospital - the latter continued to function until the mid 18th century. The church was rebuilt in 1737, with an apse added to its facade. It was then little altered until the mid 19th century, when a new facade was added and the interior redesigned. In 1890 the confraternity was renamed Opera Pia.