Oratorio del Gonfalone, Rome

Santa Maria del Suffragio is a 17th-century church in the center Rome, Italy. It lies on the via Giulia, in the rione Ponte. In 1592, the Confraternita del Suffragio ("Fraternity of those who succor the suffering") was a purgatorial society established adjacent to the church of Saint Biagio della Pagnotta; their goal was to pray for the spirits of the dead and dying. Two years later, the group received a charter of approval from Pope Clement VIII. In 1620, it was elevated to Arciconfraternita by Pope Paul V. Having outgrown their premises, the group acquired in 1607, part of an unfinished site that originally had been destined to be the Bramante-designed Palace of the Courts. In 1662, the architect Carlo Rainaldi designed the church, which was completed by 1669, with interior decorations continuing till 1685. The interior has frescoes by Cesare Mariani (Coronation of the Virgin). The third chapel on the right has a Birth of Mary and an Adoration of the Magi by Giuseppe Chiari. The third chapel on the left once had the Passion of Christ frescoed on the walls by Lanfranco. The frescoes with the Eternal Father in Gloria and the Assumption in the choir are by Giovanni Battista Beinaschi.

The Carceri Nuove ([ˈkartʃeri ˈnwɔːve]; "New Jails") was a prison built in the mid-17th century at the instigation of Pope Innocent X and his ideals of humanity and clemency. The New Jails were to replace other prisons throughout the city. This jail remained in operation until the construction of the judicial prison of Regina Coeli in Trastevere at the turn of the 20th century. The building, in 2020, housed the Direzione Nazionale Antimafia e Antiterrorismo (English: National Anti-Mafia and Counter-Terrorism Directorate).

San Biagio della Pagnotta or San Biagio degli Armeni is a church in Rome, in the Ponte district, on via Giulia, near Palazzo Sacchetti. It is dedicated to Saint Blaise and is the national church of the Armenian community in Rome.

Santa Lucia del Gonfalone is a church in the diocese of Rome, Italy. It is located on Via dei Banchi Vecchi just one block south of Corso Vittorio Emanuele. The former site of the Archconfraternity of the Gonfalone, the Claretian Missionaries have their provincial headquarters here. The church was made a cardinalate deaconry by Pope John Paul II on 21 October 2003.

San Filippo Neri is a deconsecrated church in Rome, important for historical and artistic reasons. The church, facing the Via Giulia, was built during the Baroque age. San Filippo was supposed to be demolished together with the surrounding neighborhood in the late 1930s, but due to the onset of WWII the demolition was halted. Abandoned and desecrated after the war, it has been restored in 2000, but maintains a secular usage and is not accessible.

Palazzo Sacchetti (formerly Palazzo Ricci) is a palazzo in Rome, important for historical and artistic reasons. The building was designed and owned by Antonio da Sangallo the Younger and completed by Nanni di Baccio Bigio or his son Annibale Lippi. After Sangallo, the palace belonged among others to the Ricci, Ceoli and Sacchetti, important families of the Roman nobility. Among the artworks that decorate the interior, the cycle of frescoes depicting the Storie di David by Francesco Salviati represents an important work of Mannerism. The palace also housed hundreds of paintings that would become the nucleus of the Pinacoteca Capitolina. Palazzo Sacchetti is widely considered the most important palace in Via Giulia.

The Collegio Ghislieri was a building in Rome, seat of the eponymous charitable institution, important for architectural and historical reasons. The College was founded in 1656 by Giuseppe Ghislieri and was meant to host 24 boys of the decayed pontifical nobility for free during high school. Placed under the protection of the duke Salviati, the college was closed in 1928. The building which hosted the college, possibly work of Carlo Maderno, was demolished in the 1930s. Its façade on Via Giulia and some decorations have survived, incorporated in the structure of the Liceo classico Virgilio, built on the same site between 1936 and 1939 after a design by Marcello Piacentini.

The Monument to Nicola Spedalieri is a memorial statue to an 18th-century priest and political theorist (140–1795); the statue was installed in 1903 at the Piazza Forza Cesarini along the Corso Vittorio Emanuele II in central Rome, Italy. Spedalieri and his ideas, and thus the monument, have been variously disputed or celebrated by different factions. Spedalieri's most famous work, De' diritti dell'Uomo (1791), had a mixed reception. Written as a critique of the Declaration of the Rights of Man and of the Citizen approved by the French National Assembly in 1789, Spedalieri supports the idea of natural rights of man, and opposes a tyrannical law imposed by rulers claiming a divine anointment. However, he claims that the selfish desires of human nature need to be tempered by religious authority, specifically Roman Catholic morality. The anti-absolutist ideas in his writings stirred opposition from ruling authorities battling the rising Jacobin and republican forces. These notions led liberal forces of the 19th century to honor him as the origin of an Italian enlightenment about the rights of citizens. By the late 19th century, Rome, the new capital of the Italian Kingdom, was seeking to memorialize the past in ways that celebrated their political beliefs, but also the struggles for an Italian identity. The Corso had been widened and flanking areas embellished with a number of memorials to both recent heroes of the Italian independence, but also to historical opponents of the forces hindering an Italian identity, for example, Giordano Bruno's monument at Campo di Fiori. Spedalieri was an awkward figure to defend by Liberals, since he had also been supported and supportive in his day of the Papacy. This monument was first proposed in 1882 by the lawyer Giuseppe Cimbali, a native from the same town in Sicily where Spedalieri was born. In 1893 a committee was established to supervise a contest to erect a monument by the centennial of Spedialeri's death. None of the proposals received by 1894 were approved. A second round of proposals the next year led to the selection of the design by Sicilia sculptor Mario Rutelli. The site and inauguration of the monument were controversial, and the monument was first unveiled, without ceremony, in Piazza Vidoni (alongside the church of Sant'Andrea della Valle) in the middle of the night of 23 November 1903. In 1951, because of the busy location, the statue was moved to the present Piazza, where it replaced the Monument to Terenzio Mamiani, which was then moved about four blocks north to a park at the intersection of the Corso and Via Acciaioli. Paradoxically Mamiani had written scholarly reassessments of Spedialeri's works that kept the latter's influence current.The monument is a bronze statue on a pedestal. Spedalieri stands with this opus of Diritti dell'uomo in his left hand. His vestments are not ecclesiastical. Below, on the pedestal is a wreath with the Trinacria, a symbol of Sicily, surrounded by palm leaves. The 1903 inscription reads that the new Italy memorializes Spedalieri.

Santo Spirito dei Napoletani is a Roman Catholic church on via Giulia, in the Regola rione of Rome. It was the national church of the Kingdom of the Two Sicilies and is now the regional church for Campania.

San Giuseppe alla Lungara is a church of Rome (Italy), in the Rione Trastevere, facing on Via della Lungara. It was built under the papacy of Clement XII in 1734, after a design by Ludovico Rusconi Sassi; it underwent restoration works during the 19th century, when the dome, that had collapsed, was rebuilt (1872).

Sant'Eligio degli Orefici is a church in Rome, Italy. It is located in the rione Regola, near via Giulia, on a corner of the via of the same name that ends below the Lungotevere dei Tebaldi, a few blocks northwest of the Palazzo Farnese. Initially designed by Raphael for the Guild of Goldsmiths when they split off from the Guild of Ironworkers in 1509 and dedicated to their patron saint Eligius, it was completed by Baldassarre Peruzzi and Bastiano da Sangallo. Besides his work on St Peter's Basilica, this is the only church in Rome that, although partially, can definitely be attributed to Raphael. Its cupola is attributed to Baldassare Peruzzi and the interior is also by Raphael, in a Bramante-like style, though the present façade is early 17th century and by Flaminio Ponzio.

San Giacomo alla Lungara is a church in Rome (Italy), in the Rione Trastevere, facing on Via della Lungara. It is also called San Giacomo in Settimiano or in Settignano, due to its vicinity to Porta Settimiana, built by Septimius Severus and included by Aurelianus within the city walls. The church has medieval origins: it probably dates back to the papacy of Leo IV in 9th century. However, the former documents attesting its existence are papal bulls promulgated in 1198 and 1228, when the church was declared a branch of St. Peter's Basilica by Pope Innocent III. In 12th century Pope Innocent IV allowed it to the Sylvestrine Congregation; in 1620 the Vatican Chapter entrusted the church to the Franciscans and then to the Penitent Nuns, which, in 1644, charged Luigi Arrigucci (1575–1644) with the restoration of the building: because of these restorations, the church lost its basilican layout with three naves and became a single nave church with coffering on the ceiling. In the same period the nuns also built the annexed cloister, devoted to the prostitutes wishing to change their life; the cloister was demolished in 1887, during the building of the Lungotevere. In the same period the church, after having suffered 15 years of abandon and risked itself the destruction, was finally renovated. Across the Lungotevere it is possible to see the Romanesque towerbell, dating back to the 12th century and the only surviving Medieval feature. The interior of the church displays a single nave. The most famous work of art is the Memorial to Ippolito Merenda by Gian Lorenzo Bernini: a gravestone with the shape of a puckered sheet, sustained with both hands and teeth by a winged skeleton. The high altar houses a painting by Giovanni Francesco Romanelli portraying James the Apostle.