Santa Rita da Cascia in Campitelli

The temple of Bellona was an ancient Roman temple dedicated to the goddess Bellona and sited next to the Temple of Apollo Sosianus and the Theatre of Marcellus in Rome.

Sant’Andrea in Vincis was a small Roman Catholic church located near the Franciscan convent of Tor de' Specchi, on the western slopes of the Campidoglio, in the rione Campitelli of Rome, Italy. The church was torn down in the late 1920s to make space for the Via del Teatro de Marcello. Melchiorri describes this as the church of the Confraternity of the Scalpellini (marble workers), and mentions it was called either Sant'Andrea in Mentuccia or in Vinchis. The Scalpellini obtained this church under Pope Innocent VII, and refurbished the church under Carlo de Marchis. The ceiling of the church was frescoed by Antonio Nessi, a pupil of Sebastiano Conca.

The Temple of Jupiter Stator ("Jupiter the Sustainer") was a temple of Ancient Rome in the southern Campus Martius. It was destroyed in 64 AD in the Great Fire of Rome.The Temple was named after the god Jupiter, in his form of Jupiter Stator (Jupiter the Sustainer). Together with the Temple of Juno Regina (Juno in the form of "Queen Juno") and the enclosing Porticus Metelli (later rebuilt as the Porticus Octaviae), it was built by Quintus Caecilius Metellus Macedonicus after his triumph, in 146 BC. It is referred to as aedes Iovis Metellina and aedes Metelli. It was inside the porticus Metelli, close to the Circus Flaminius, and its exact site is known to have been beneath the church of Santa Maria in Campitelli. The Temple of Juno Regina was just west of it, on the opposite side of the Via della Tribuna di Campitelli. It is not stated in explicitly by Velleius that Metellus built both temples, but that is the natural inference from the passage. He is also said to have been the first to build a temple in Rome entirely of marble, and which probably applies to both structures. In front of the temples Metellus placed Lysippus' equestrian statues of Alexander the Great's generals, and in them were several famous works of art. According to Vitruvius (iii.2.5), the Temple of Jupiter was the work of Hermodorus of Salamis. It was a Hexastyle peripteral building with six columns along the short sides and eleven on the long sides. The space between the columns was equal to that between the columns and the wall of the cella. As there were no inscriptions on the temples and evidently representations of a lizard and a frog among the decorations (σαύρα, βάτραχος), the legend arose that the architects were two Spartans, Saurus and Batrachus and that as the decorations in the temple of Jupiter belonged to that of Juno and vice versa, the statues of the deities had been set up in the wrong cellae by the mistake of the workmen. The idea that an Ionic capital, now in S. Lorenzo fuori le Mura, has anything to do with the temples has generally been abandoned.In 64 AD, the Great Fire of Rome ravaged much of the city, completely devastating three of and partially destroying seven of the city's fourteen districts. The Temple of Jupiter Stator was completely destroyed, along with the House of the Vestals, the Domus Transitoria (Nero's first palace), the Temple of Luna, and much of Rome.

The Albertoni Spinola Palace, with entrances in Campitelli square n. 2, Capizucchi square and vicolo Capizucchi is located in the 10th District (Rione Campitelli). It was projected and executed by Giacomo Della Porta and Girolamo Rainaldi around the end of 16th century and the first years of 17th century. The building is protected by Italian Government and the distinctive feature of Palace consist in two buildings connected to each other but perfectly integrated that have generated the visual effect of the perspective on the Church of Santa Maria in Campitelli.

Santa Maria in Campitelli or Santa Maria in Portico is a church dedicated to the Virgin Mary on the narrow Piazza di Campitelli in Rione Sant'Angelo, Rome, Italy.

The Porta Carmentalis was a double gate in the Servian Walls of ancient Rome. It was named for a nearby shrine to the goddess or nymph Carmenta, whose importance in early Roman religion is also indicated by the assignment of one of the fifteen flamines to her cult, and by the archaic festival in her honor, the Carmentalia. The shrine was to the right as one exited the gate. The gate's two arches seem to have been set at angles, and were known by separate names. It was unlucky to leave the city through the arch called Porta Scelerata ("Accursed Gate"), which was supposed to have been named for the military disaster at Cremera in 479 or 478 BC, since the 306 Fabii who died had departed through it. The Servian Walls, however, did not exist at that time. The accursed nature of the gate probably derives from the transport of corpses out of the city proper to funeral pyres on the Campus Martius. The family tomb of the Claudii was located outside the Porta Carmentalis.The other gate was the Porta Triumphalis. A governor returning from his province could not enter through this gate unless he had been awarded a triumph. It therefore must have been routine to use the Porta Scelerata for entering, and the Triumphalis for exiting. Funeral processions reversed the normal direction of traffic flow for the Scelerata, as the triumphal procession did for the Triumphalis. Augustus was accorded the special honor of having his funeral procession exit by the Triumphalis.The temples of Mater Matuta and Fortuna were nearby. The Carmentalis was rebuilt by Domitian, and topped with a sculpture group of a triumphal chariot drawn by elephants. The gate is depicted in relief sculpture dating to the reign of Marcus Aurelius.The Vicus Iugarius forked just before reaching the Porta Carmentalis, with one branch passing through the Forum Holitorium by making a right curve around the foot of the Capitoline Hill, and the other passing through the Forum Boarium to the mouth of the Cloaca Maxima on the Tiber. The precise location of the Porta Carmentalis itself remains unclear, despite excavations in the area from the late 1930s onward. Livy names the Porta Carmentalis as the point of entry for a ritual procession undertaken in 207 BC as part of an expiatory sacrifice for Juno. Two white cows were led from the Temple of Apollo through the Carmentalis and along the Vicus Iugarius to the Forum.

The Theatre of Marcellus (Latin: Theatrum Marcelli, Italian: Teatro di Marcello) is an ancient open-air theatre in Rome, Italy, built in the closing years of the Roman Republic. At the theatre, locals and visitors alike were able to watch performances of drama and song. Today its ancient edifice in the rione of Sant'Angelo, Rome, once again provides one of the city's many popular spectacles or tourist sites. Space for the theatre was cleared by Julius Caesar, who was murdered before its construction could begin; the theatre was advanced enough by 17 BC that part of the celebration of the ludi saeculares took place within the theatre; it was completed in 13 BC and formally inaugurated in 12 BC by Augustus, named after his nephew Marcus Claudius Marcellus who had died in 23 BC. The theatre was 111 m in diameter and was the largest and most important theatre in Ancient Rome; it could originally hold between 11,000 and 20,000 spectators. A catalogue complied at the end of the 4th century recorded that the theatre's seating capacity was 17,580 persons. It was an impressive example of what was to become one of the most pervasive urban architectural forms of the Roman world. The theatre was built mainly of tuff, and concrete faced with stones in the pattern known as opus reticulatum, completely sheathed in white travertine. However, it is also the earliest dateable building in Rome to make use of fired Roman brick, then a new introduction from the Greek world.The network of arches, corridors, tunnels and ramps that gave access to the interiors of such Roman theatres were normally ornamented with a screen of engaged columns in Greek orders: Doric at the base, Ionic in the middle. It is believed that Corinthian columns were used for the upper level but this is uncertain as the theatre was reconstructed in the Middle Ages, removing the top tier of seating and the columns.Like other Roman theatres in suitable locations, it had openings through which the natural setting could be seen, in this case the Tiber Island to the southwest. The permanent setting, the scaena, also rose to the top of the cavea as in other Roman theatres. The theatre fell out of use in the early 4th century and the structure served as a quarry, e.g., for the Pons Cestius in 370 AD. However, the statues located inside the building were restored by Petronius Maximus in 421 and the remaining structure still housed small residential buildings. In the Early Middle Ages the theatre was used as a fortress of the roman family of Faffo or Fabi (called "from Pescheria") and then at the end of the 11th century (when it was known as templum Marcelli), by Pier Leoni and later his heirs (the Pierleoni). This saved the complex from further destruction. The Savelli held it in the 13th century. Later, in the 16th century, the residence of the Orsini, designed by Baldassare Peruzzi, was built atop the ruins of the ancient theatre. By the 19th century, rises in the street level meant that almost half the ground floor was below it. Now the upper floors are divided into multiple apartments, and its surroundings are used as a venue for small summer concerts; the Portico d'Ottavia lies to the north west leading to the Roman Ghetto and the Tiber to the south west. In the 17th century, the English architect Sir Christopher Wren explicitly acknowledged that his design for the Sheldonian Theatre in Oxford was influenced by Serlio's engraving of the Theatre of Marcellus.

The Temple of Janus at the Forum Holitorium is the second known temple dedicated to Janus, besides the temple of the same name located in the Roman Forum. It is known that it stood "close to the Theatre of Marcellus" (ad theatrum Marcelli or iuxta theatrum Marcelli) and "outside Porta Carmentalis" (extra portam Carmentalem) and that feasts took place there in August and October. It is highly likely that it is one of the three contiguous temples from the Republican era in the area of the ancient Forum Holitorium – where now stands the church of S. Nicola in Carcere – and more specifically the northernmost one, to the right than the facade of the church. The remains of the temple are seven columns in tuff - a material typical of the original age of construction and of the Roman tradition - incorporated with their architrave in the right side of the church and two columns rising on the basement just near the Theatre of Marcellus.

Sant'Angelo in Pescheria or in Piscaria is a church in Rome. It dates from the 8th century. "In Pescheria" refers to its location close to the fish market built in the ruins of the ancient Porticus Octaviae. The relics of St. Symphorosa and her seven sons were transferred to the Church of Sant'Angelo in Pescheria at Rome by Pope Stephen II in 752. A sarcophagus was found here in 1610, bearing the inscription: Hic requiescunt corpora SS. Martyrum Simforosae, viri sui Zotici (Getulii) et Filiorum ejus a Stephano Papa translata. This inscription refers to Saint Getulius and Saint Symphorosa, purported to be husband and wife, who had seven sons, who were also martyred. The remains of these saints were transferred to Sant'Angelo by Pope Stephen II in 752.The revolutionary "tribune" Cola di Rienzo was born near Sant'Angelo. He launched his effort to seize control of Rome from the vicinity of the church in 1347. The Roman Ghetto was established nearby in the rione Sant'Angelo in 1555 by order of Pope Paul IV. The Ghetto was abolished in 1870 after the reunification of Italy or Risorgimento, and the Ghetto wall was demolished in 1888. The rione Sant'Angelo, numbered as XI, is named after the church. The inscriptions found in S. Angelo, a valuable source illustrating the history of the Basilica, have been collected and published by Vincenzo Forcella.In the second chapel to the left inside the church are frescoes of the Madonna with Child and Angels attributed to Benozzo Gozzoli (c. 1450). During the late 14th century, Matteo de Baccari dedicated part of his inheritance to the Church of Sant'Angelo in Pescheria in Rome, specifically to the Chapel of St. Cosmo and Damian. The chapel was not operational, but after many years his daughter, Mattea, managed to make the chapel functional. The Church is currently in the possession of the Order of Clerics Regular Minor, which utilizes the attached convent as their Generalate House.

San Nicola in Carcere (Italian, "St Nicholas in prison") is a titular church in Rome near the Forum Boarium in rione Sant'Angelo. It is one of the traditional stational churches of Lent.

The Forum Holitorium (Italian: Foro Olitorio; English: Vegetable-sellers' Market) is an archaeological area of Rome, Italy, on the slopes of the Capitoline Hill. It was "oddly located" outside the Porta Carmentalis in the Campus Martius, crowded between the Forum Boarium ("Cattle Market") and buildings located in the Circus Flaminius. In ancient times it was the fruit and vegetable market, while the area of the adjacent Forum Boarium served as meat market. It also included a sacred area with three small temples dedicated to Janus, Spes and Juno Sospita.

The Porticus Octaviae (Portico of Octavia; Italian: Portico di Ottavia) is an ancient structure in Rome. The colonnaded walks of the portico enclosed the temples of Jupiter Stator and Juno Regina, as well as a library. The structure was used as a fish market from the medieval period up to the end of 19th century.