San Simeone Profeta, Rome

Via dei Coronari (known colloquially in Rome as I Coronari) is a street in the historic center of Rome. The road, flanked by buildings mostly erected in the 15th and the 16th century, belongs entirely to the rione Ponte and is one of the most picturesque roads of the old city, having maintained the character of an Italian Renaissance street.

San Salvatore in Lauro is a Catholic church in central Rome, Italy. It is located on a piazza of the same name in the rione Ponte. It stands on Via Vecchiarelli, just south of the Lungotevere Tor di Nona and north of via dei Coronari. It is the "national church" of the marchigiani, the inhabitants of the Marche region of Italy (the population of each of Italy's regions was counted as a "nation" before Italian unification). The current protector of this titulus is Cardinal-Deacon Angelo Comastri.

Santi Simone e Giuda (Saints Simon and Jude Thaddeus, the Apostle) is a deconsecrated Catholic church in the center of Rome, Italy. It is important for historical reasons.

Lungotevere Michelangelo is the stretch of Lungotevere that links Piazza della Libertà to Piazza delle Cinque Giornate in Rome, in the Rione Prati.The Lungotevere is dedicated to Michelangelo Buonarroti, who created several works of art in the town; it was established as per resolution on April 1, 1911.The boulevard is delimited by Ponte Giacomo Matteotti and Ponte Regina Margherita, while in an intermediate position rises Ponte Pietro Nenni, that is used by the trains of the Line A of the Rome Metro.

The Palazzo Fusconi-Pighini is a Renaissance-style palace located on Piazza Farnese #44 in the rione Regola of central Rome, Italy.

The Amphitheatre of Statilius Taurus (Latin: Amphitheatrum Statilii Tauri) was an Roman amphitheatre in ancient Rome. The amphitheatre was inaugurated in 29 BC. Earlier arenas were temporary structures that were disassembled after the event. The amphitheatre was built by Titus Statilius Taurus, who paid for it from his own resources. Statilius Taurus was a successful general and politician in the time of emperor Augustus and had gathered much wealth during his career. For the inauguration he also paid for the gladiatorial games.The amphitheatre was built on the Campus Martius in Rome in a period when many new temples and theatres were being built. The exact location is lost, but it was probably built in the southern area of the Campus Martius. Within a 50-year span, this area saw the construction of the Theater of Pompey, the Theater of Marcellus, and the Theater of Balbus, along with the Amphitheatre of Statilius Taurus. It was not a large amphitheatre. Dissatisfaction over the Amphitheatre of Statilius Taurus led Nero, in 57 AD, to build a new wooden amphitheatre, the Amphitheatrum Neronis. During the Great Fire of Rome in 64 AD, which left Rome in ashes, both amphitheatres were completely destroyed.In 72 AD, Vespasian built a new, much larger stone amphitheatre in Rome. This was the Amphitheatrum Flavium, today known as the Colosseum.

Santa Maria della Pace is a church in Rome, central Italy, not far from Piazza Navona. The building lies in rione Ponte.

The Chiostro del Bramante (Cloisters of Bramante) is an Italian Renaissance building in Rome, commissioned by Cardinal Oliviero Carafa in around 1500, and designed by the architect Donato Bramante.Today the building serves as a space for exhibitions, meetings and concerts. A cafe and bookshop are housed within the building. A fresco painting by Raphael, The Sibyls in the next-door church of Santa Maria della Pace, is visible from the first floor.

Ponte Umberto I, also known as Ponte Umberto, is a bridge that links Piazza di Ponte Umberto I to Piazza dei Tribunali in Rome (Italy), in the rioni Ponte and Prati.

Palazzo Primoli is a Palazzo in Rome, Italy. It is owned by the Fondazione Primoli and the city of Rome and houses several museums and collections. The palazzo was built in the seventeenth century. In 1901 Count Giuseppe Primoli (1851–1927) became its sole owner. He extended and partly modernised the palazzo with a new facade and entrance between 1901 and 1911. The Count's maternal grandparents were Charles Lucien Bonaparte and Zénaïde Bonaparte, and the Count brought together a collection of objects (now the Museo Napoleonico), documenting the relationship between Rome and the Bonaparte family. He also was an avid photographer. In 1927 Giuseppe Primoli donated the palazzo and his collections to the municipality of Rome.The Museo Napoleonico is located on the palazzo's ground floor, and the third floor is occupied by the Museo Mario Praz, the former residence of Mario Praz. Also located in the palazzo is the Fondazione Primoli with the Count's library and photographic archive.

Epitaph of Adriaen Vryburch is a sculptural monument by Flemish sculptor François Duquesnoy. The epitaph sits on the pier directly opposite to the Tomb of Ferdinand van den Eynde in the church of Santa Maria dell'Anima in Rome. The epitaph was completed in 1629.

The Tomb of Ferdinand van den Eynde is a sculptural monument designed and executed by François Duquesnoy. It is located in the church of Santa Maria dell'Anima in Rome. Duquesnoy secured the commission for this work thanks to Pietro Pescatore, alias De Visschere, or Pieter Visscher, a Flemish merchant. The site for Eynde's epitaph was granted by the church administration on August 3, 1633. Visscher and Baldoin Breyel were charged with overseeing the tomb's execution. Both of them had been friends of the deceased, who belonged to the expatriate Netherlandish community of Santa Maria dell'Anima in Rome. The tomb was completed between 1633 and 1640.The putti that compose Van den Eynde's epitaph, especially the righthand putto, are considered "the peak of the evolution of the putto in sculpture" and one of Duquesnoy's greatest achievements. Copies of the Van den Eynde's putti, whether in plaster or wax, were owned by many artists in Rome and Northern Europe. Plaster castings of the putti that decorate Van den Eynde's tomb were listed in the studio inventories of Bernini's assistant Peter Verpoorten and the Italian artist Ercole Ferrata in Rome, as well as in the Antwerp studios of Erasmus Quellinus II and Peter Paul Rubens. Both Giovanni Battista Passeri and Giovanni Pietro Bellori stressed the fame of the Van den Eynde's putti, which served as models of the infant putto for contemporary artists. Many other artists, such as Peter Paul Rubens and Johann Joachim Winckelmann (generally a harsh critic of Baroque sculpture) lauded the Van den Eynde's putti. Throughout the following centuries, artists from around the world portrayed the Van den Eynde's epitaph in painting and drawing. Among the drawings which survive today, there are those of Johan Sylvius, Jean-Robert Ango, and Augustin Pajou.