Santa Maria della Concezione dei Cappuccini

The Capuchin Crypt is a small space comprising several tiny chapels located beneath the church of Santa Maria della Concezione dei Cappuccini on the Via Veneto near Piazza Barberini in Rome, Italy. It contains the skeletal remains of 3,700 bodies believed to be Capuchin friars buried by their order. The Catholic order insists that the display is not meant to be macabre, but a silent reminder of the swift passage of life on Earth and our own mortality.

Fontana delle Api (Fountain of the Bees) is a fountain located in the Piazza Barberini in Rome where the Via Veneto enters the piazza. It was sculpted by Gian Lorenzo Bernini and completed in April 1644.

Barberini–Fontana di Trevi is an underground station on Line A of the Rome Metro, inaugurated in 1980 and situated under Piazza Barberini in Trevi. Originally, the station was simply named Barberini, but the name was extended in 2000. The entrance hall of the station accommodates some mosaics of the Rome Artemetro Prize. The creators of the displayed mosaics are Graziano Navy and Heinz Mark. The station was closed on 21 March 2019 after a fault was experienced on the escalators. A partial reopening of the station was planned for 8 December 2019 but it did not take place. in January 2020 local authorities reported that an escalator had failed a safety check, further delaying the station's reopening.

Fontana del Tritone (Triton Fountain) is a seventeenth-century fountain in Rome, by the Baroque sculptor Gian Lorenzo Bernini. Commissioned by his patron, Pope Urban VIII, the fountain is located in the Piazza Barberini, near the entrance to the Palazzo Barberini (which now houses the Galleria Nazionale d'Arte Antica) that Bernini helped to design and construct for the Barberini, Urban's family. This fountain should be distinguished from the nearby Fontana dei Tritoni (Fountain of the Tritons) by Carlo Francesco Bizzaccheri in Piazza Bocca della Verità which features two Tritons. The fountain was executed in travertine in 1642–43. At its centre rises a larger than lifesize muscular Triton, a minor sea god of ancient Greco-Roman legend, depicted as a merman kneeling on the sum of four dolphin tailfins. His head is thrown back and his arms raise a conch to his lips; from it a jet of water spurts, formerly rising dramatically higher than it does today. The fountain has a base of four dolphins that entwine the papal tiara with crossed keys and the heraldic Barberini bees in their scaly tails.The Tritone, the first of Bernini's free-standing urban fountains, was erected to provide water from the Acqua Felice aqueduct which Urban had restored, in a dramatic celebration. It was Bernini's last major commission from his great patron who died in 1644. At the Triton Fountain, Urban and Bernini brought the idea of a sculptural fountain, familiar from villa gardens, decisively to a public urban setting for the first time; previous public fountains in the city of Rome had been passive basins for the reception of public water. Bernini has represented the triton to illustrate the triumphant passage from Ovid's Metamorphoses book I, evoking godlike control over the waters and describing the draining away of the Universal Deluge. The passage that Urban set Bernini to illustrate, was well known to all literate Roman contemporaries: Already Triton, at his call, appears Above the waves; a Tyrian robe he wears; And in his hand a crooked trumpet bears. The sovereign bids him peaceful sounds inspire, And give the waves the signal to retire. His writhen shell he takes; whose narrow vent Grows by degrees into a large extent, Then gives it breath; the blast with doubling sound, Runs the wide circuit of the world around: The sun first heard it, in his early east, And met the rattling echoes in the west. The waters, list'ning to the trumpet's roar, Obey the summons, and forsake the shore. —free translation by Sir Samuel Garth, John Dryden, et al..Two finished terracotta bozzetti at the Detroit Institute of Arts, securely attributed to Bernini, reflect his exploration of the fountain's themes of the intertwined upended dolphins and the muscular, scaly-tailed Triton.

Piazza Barberini is a large piazza in the centro storico or city center of Rome, Italy and situated on the Quirinal Hill. It was created in the 16th century but many of the surrounding buildings have subsequently been rebuilt. The current appellation was given in 1625 when it was named after the Palazzo Barberini, the substantial Baroque palace built in an elevated position on the south side of the piazza for the Barberini. Originally, there was a large entrance gateway to the palace designed by the Baroque painter and architect Pietro da Cortona on the south east corner of the piazza but this was demolished to make way for the construction of a new road in the 19th century. However, its appearance is known from engravings and early photographs of the piazza.At the centre of the piazza is the Fontana del Tritone or Triton Fountain (1642–3) sculpted by Bernini. Another fountain, the Fontana delle Api (1644), also by Bernini is in the nearby Via Vittorio Veneto but it has been reconstructed somewhat arbitrarily following its removal from its previous position on the corner of a palace where the Piazza Barberini meets the Via Sistina.Until the 18th century, unknown human corpses were displayed here for public identification. Between 1632 and 1822 an antique obelisk stood here; it was transferred to Villa Medici.

San Basilio agli Orti Sallustiani (Saint Basil at the Horti Sallustiani) is a rectory church in Rome, on via Trevi in the Trevi district. It is dedicated to Saint Basil. The church is a secondary place of worship for the Parish of San Camillo de Lellis.

The Ministry of Labour and Social Policies (Italian: Ministero del lavoro e delle politiche sociali) is a department of the government of the Republic of Italy responsible for policies of labour, employment, labour protection, the adequacy of social security system, and social policy, with particular reference to the prevention and reduction of conditions of need and distress among the people. It is led by the Minister of Labour, a post held by Nunzia Catalfo since 5 September 2019.

The Teatro Sistina is a theatre in Rome, Italy. The building, designed by Marcello Piacentini, was begun in 1946 on the former site of the Pontifical Ecclesiastical Polish Institute. It was inaugurated on 28 December 1949 as a cinema, but later become mostly used for theatrical and cabaret representations. In the 1960s it was directed by Pietro Garinei and Sandro Giovannini, who here premiered some of their main successes, such as Rugantino, Attanasio cavallo vanesio, Aggiungi un posto a tavola and others.

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.

Via Vittorio Veneto (Italian pronunciation: [ˈviːa vitˈtɔːrjo ˈvɛːneto]), colloquially called Via Veneto, is one of the most famous, elegant, and expensive streets of Rome, Italy. The street is named after the Battle of Vittorio Veneto (1918), a decisive Italian victory of World War I. Federico Fellini's classic 1960 film La Dolce Vita was mostly centered on the Via Veneto area.

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."