Catacomb of San Panfilo

Santa Teresa del Bambin Gesù in Panfilo is a church in the Pinciano quarter of Rome, at the junction of via Giovanni Paisiello and via Gaspare Spontini. It is dedicated to Teresa of Lisieux and since its inception has been run by the Discalced Carmelites, whose monastery next door was completed in 1929. The epithet in Panfilo derives from the catacomb of San Panfilo on which it was built to designs by Guglielmo Palombi between 1929 and 1932, though its crypt was opened on 16 May 1928. It was consecrated on 2 October 1932 by monsignor Adeodato Giovanni Piazza. It was made a parish church from 6 December 1952 to 30 September 2011 as a result of Omnium ecclesiarum, a decree by the Cardinal Vicar Clemente Micara.

Accademia Nazionale d'Arte Drammatica Silvio D'Amico (translation: Silvio d'Amico National Academy of Dramatic Arts) is a national drama school in Rome, Italy. Founded in 1936 by the theatrical theorist, critic, and writer Silvio D'Amico, the academy is the only state school for the training of actors and directors. Funded jointly by the Ministry of Education, Universities and Research (MIUR) and the Ministry of Cultural Heritage and Activities, the Academy grants academic degrees equivalent to Bachelor of Arts as well as master's degrees. Its value comes from being the only school in Italy to be recognized by the Prime Minister / Department of Performing Arts and the Ministry of University and Scientific and Technological Research.

The Greek Ambassador to Italy is the Ambassador of the Greek government to the government of Italy. For Greece, Italy is the first commercial partner and Greece receives major Italian investments. Greek–Italian relations

Villa Borghese Pinciana ('Borghese villa on the Pincian Hill') is a villa built by the architect Flaminio Ponzio (and, after his death, finished by his assistant Giovanni Vasanzio), developing sketches by Scipione Borghese.

Villa Borghese is a landscape garden in Rome, containing a number of buildings, museums (see Galleria Borghese) and attractions. It is the third-largest public park in Rome (80 hectares or 197.7 acres), after the ones of the Villa Doria Pamphili and Villa Ada. The gardens were developed for the Villa Borghese Pinciana ("Borghese villa on the Pincian Hill"), built by the architect Flaminio Ponzio, developing sketches by Scipione Borghese, who used it as a villa suburbana, or party villa, at the edge of Rome, and to house his art collection. The gardens as they are now were remade in the late 18th century.

The Galleria Borghese (Italian for 'Borghese Gallery') is an art gallery in Rome, Italy, housed in the former Villa Borghese Pinciana. At the outset, the gallery building was integrated with its gardens, but nowadays the Villa Borghese gardens are considered a separate tourist attraction. The Galleria Borghese houses a substantial part of the Borghese Collection of paintings, sculpture and antiquities, begun by Cardinal Scipione Borghese, the nephew of Pope Paul V (reign 1605–1621). The building was constructed by the architect Flaminio Ponzio, developing sketches by Scipione Borghese himself, who used it as a villa suburbana, a country villa at the edge of Rome. Scipione Borghese was an early patron of Bernini and an avid collector of works by Caravaggio, who is well represented in the collection by his Boy with a Basket of Fruit, St Jerome Writing, Sick Bacchus and others. Additional paintings of note include Titian's Sacred and Profane Love, Raphael's Entombment of Christ and works by Peter Paul Rubens and Federico Barocci.

The Goat Amalthea with the Infant Jupiter and a Faun is the earliest known work by the Italian artist Gian Lorenzo Bernini. Produced sometime between 1609 and 1615, the sculpture is now in the Borghese Collection at the Galleria Borghese in Rome.

David is a life-size marble sculpture by Gian Lorenzo Bernini. The sculpture was one of many commissions to decorate the villa of Bernini's patron Cardinal Scipione Borghese – where it still resides today, as part of the Galleria Borghese. It was completed in the course of seven months from 1623 to 1624. The subject of the work is the biblical David, about to throw the stone that will bring down Goliath, which will allow David to behead him. Compared to earlier works on the same theme (notably the David of Michelangelo), the sculpture broke new ground in its implied movement and its psychological intensity.

The Rape of Proserpina (Italian: Ratto di Proserpina), more accurately translated as the Abduction of Proserpina, is a large Baroque marble group sculpture by Italian artist Gian Lorenzo Bernini, executed between 1621 and 1622, when Bernini's career was in its early stage. The group, finished when Bernini was just 23 years old, depicts the abduction of Proserpina, who is seized and taken to the underworld by the god Pluto. It features Pluto holding Proserpina aloft, and a Cerberus to symbolize the border into the underworld that Pluto carries Proserpina into.Cardinal Scipione Borghese commissioned the sculpture and gave it to the newly appointed Cardinal-nephew, Ludovico Ludovisi, possibly as a means of gaining favor. The choice to depict the myth of Proserpina may relate to the recent death of Pope Paul V, or to the recent empowerment of Ludovico. Bernini drew heavy inspiration from Giambologna and Annibale Carracci for the sculpture, which is also the only work for which preparatory material survives. The Rape of Proserpina is made of rare Carrara marble, and was originally placed on a since-destroyed pedestal with a poem by Maffeo Barberini. It has been praised for its realism, as the marble mimics other materials like flesh. The detail is notable; for instance, a trickle of tears contributes expressiveness to Proserpina's face.

Aeneas, Anchises, and Ascanius is a sculpture by the Italian artist Gian Lorenzo Bernini created c. 1618-19. Housed in the Galleria Borghese in Rome, the sculpture depicts a scene from the Aeneid, where the hero Aeneas leads his family from burning Troy.The life-sized group shows three generations of Aeneas' family. The young man is Aeneas, who carries an older man—his father, Anchises—on his shoulder. He gazes down to the side with a strong determination. Aeneas' lineage from the gods—his mother is Aphrodite—is emphasized through the lion skin draped around his body. (A lion skin commonly stands for power, and is often related to Hercules, a descendant of Zeus[2].) Behind Aeneas follows his young son, Ascanius. The statue was made by Bernini when he was twenty years old, although it is often thought that he had help from his father, Pietro Bernini [2]. Through his father, the younger Bernini was gaining renown in the higher circles of Rome; Pietro's famous Mannerist sculptures were commissioned even by the Pope. Through some minor commissions for Pope Paul V, Gianlorenzo began to be recognized as a very promising sculptor. The Pope couldn't believe that one so young could carve such work. Those sculptures, especially the antique ones, eventually caught the attention of Cardinal Scipione Borghese, who loved arts, money and male physical beauty, and who was the most powerful man in Rome after the Pope. [6] The sculpture is influenced by earlier works of other artists. Michelangelo's figure of the Risen Christ (in Santa Maria sopra Minerva) is held to have served as an example for the figure of Aeneas. The head of Aeneas appears to reflect Pietro Bernini's John the Baptist (Cappella Barberini in Sant'Andrea della Valle). It is thought that it has also elements derived from Raphael's fresco The Fire in the Borgo (Vatican Museum, Stanze di Borgo) and from Federico Barocci's own painted interpretation of the Flight of Aeneas (Villa Borghese)[2]. Also, the stance of the sculpture echoes another work that his father created, the Saint Matthew with Angel. Aeneas' left foot and Ascanius' right foot are standing forward, whereas in Pietro's sculpture of Saint Matthew the stance is the same, but mirrored[2].

Truth Unveiled by Time is a marble sculpture by Italian artist Gian Lorenzo Bernini. Executed between 1645 and 1652, Bernini intended to show Truth allegorically as a naked young woman being unveiled by a figure of Time above her, but the figure of Time was never executed. Bernini still expressed a wish to add the figure as late as 1665.Bernini's rationale for creating the work was, according to his son Domenico, as a sculptural retort to attacks from opponents criticising his failed project to build two towers onto the front of St. Peter's Basilica. Cracks had appeared in the facade due to the inability of the foundations to support the towers and Bernini's architectural expansion received the blame, although historians are unsure as to the validity of this legend.Bernini began the preparatory work for Truth Unveiled by Time in 1645, during the critical period after the death of his main patron pope Urban VIII, and the figure of Truth was largely complete by 1652. Despite never completing the figure of Time, Bernini left the sculpture in his will in perpetuity to the first-born of the Bernini family; although in fact Bernini tried to sell the work to Cardinal Mazarin of France. It remained in the family (displayed on a tilted stucco block during the 19th century) until 1924, when it was purchased by the Italian government and transferred to its current home on a plinth in room VI of the Galleria Borghese. Its plinth there was originally tilted but it is now on a flat plinth after a recent restoration, leaving Truth more upright as it was originally displayed.

Two Busts of Cardinal Scipione Borghese are marble portrait sculptures executed by the Italian artist Gian Lorenzo Bernini in 1632. Cardinal Scipione Borghese was the nephew of Pope Paul V, and had commissioned other works from Bernini in the 1620s. Both versions of this portrait are in the Galleria Borghese, Rome.