Palazzo Barberini

Church built on the site of three Roman pagan temples, which can be explored underground for a small fee paid at a desk near the church entrance.

Like Pasquino, the Facchino is one the so-called "speaking figures" which are peculiar to Rome. He is looking out of the Banco di Roma building. The man depicted is holding a barrel in his hands and is carrying water. It is sometimes said that he is looking similar to Martin Luther, but more probably a porter who died while carrying a barrel is depicted here.

This is a treasure-trove of art. There are a couple of paintings by Caravaggio: "The Crucifixion of Saint Peter" and "The Conversion of Saint Paul" (in a dim alcove to the left of the altar, both at right angles to the viewer, with a machine wanting €2 to switch on the lighting) together with a sculpture by Bernini, frescoes by Pinturicchio and mosaics by Raphael. Part of the Dan Brown tour, this church featured in Angels and Demons, although the Vatican did not allow filming inside.

The enormous building at the southeast end of the Circus Maximus is the headquarters of the UN Food and Agriculture Organization (FAO). From its roof are undoubtedly the best views of Rome, but you will need to know someone who works there to get past the strict security.

A medieval church dating from the 6th century and home to the Bocca della Verità (Mouth of Truth). The Bocca della Verità at the entrance to the church is thought to be a 1st-century manhole cover. It is believed that if you put your hand in the mouth and tell a lie, the hand will be bitten off. Queues for the privilege of risking this can get rather long. Don't ignore the church, which is a gem, and has a separate entrance. Its mosaic floor in the Cosmatesque style is more rustic and less intricate than some others (Santa Maria in Trastevere, for example), but its simplicity gives it a solidity not found in the more ornate styles. S.M. in Cosmedin has a fine medieval choir enclosure and the tallest medieval belfry in Rome.

It was immortalised in 1960 by the Federico Fellini film La Dolce Vita. It is also the location of the US Embassy, in the massive Palazzo Margherita. Via Veneto went into a period of decline in the 1980s but has returned to popularity and the roadside cafes are the place to be seen if you are into that sort of thing.

A 1st-century tomb surrounded by two farmhouses from the Middle Ages, one of which used to be a cheese store. Rather hidden behind a high wall, the tomb is rarely open to the public. You might be lucky on a Sunday: on the third Sunday of every month there is a guided tour at 11:00.

Erected in 203. You can see it close up from Via della Curia also (without entering the Forum).

Ballroom-like church which crowns part of the Capitoline Hill. Don't be fooled by the plain stone exterior.

A tomb for the wealthy Gaius Cestius, who died in 12 BC. Admission to the monument only by guided tours on specific dates (2nd and 4th Saturday every month, and in combination with a ticket to the Museum of Via Ostiense also on the 1st and 3rd Saturday of every month).

With Bernini's famous Triton Fountain. Via Veneto starts here too.

The renamed Rome Zoo, one of the oldest in Europe, founded in 1911. On the edge of the Borghese Gardens, a short, well-signposted walk from the Gallery. They try hard, but San Diego this isn't. If you are a regular zoo-goer you will be disappointed.

Inaugurated in 217 AD and used until the 6th Century. The baths were big enough for 1600 bathers at a time. Impressive and well-preserved. Used for operas in summer months (see Opera di Roma for details) and was the location for the famous "three tenors" concert in July 1990, at the time of the World Cup (soccer).

Simple and elegant lines make up this building, whose construction began in 1480 for Count Girolamo Riario, nephew of Papa Sisto IV, and was taken up by architect Martino Longhi for the new owner, Cardinal Marco Sittico Altemps. Today it houses one of the branches of the National Museum of Rome, showcasing ancient and Renaissance sculptures, and the results of the 16th/17th-century fashion for 'completing' ancient sculptures missing heads or arms.