Completed in 1762, the Trevi Fountain stands as a grand example of Baroque art and architecture in Rome. The design by Nicola Salvi features an impressive scene from mythology. At the center is Neptune, the god of the sea, surrounded by two Tritons. One Triton struggles to control a wild sea-horse, while the other has a calm creature by his side. This display symbolizes the changing moods of the world’s oceans.
The site of the Trevi Fountain was not chosen by chance. It marks the endpoint of the ancient Aqua Virgo aqueduct, which was built in 19 BCE to supply water to the Baths of Agrippa. The name “Trevi” comes from its location at the meeting of three roads, an important spot in the city for centuries.
Many people visit the Trevi Fountain to take part in a special tradition. According to legend, anyone who throws a coin into the fountain will one day return to Rome. This custom has inspired visitors for generations. Coins are tossed with the right hand over the left shoulder, and each throw is said to bring a different kind of luck: one coin means a return to Rome, two coins can lead to romance, and three coins promise marriage in the city.
The Trevi Fountain has had its moments of fame on the big screen. The 1954 movie "Three Coins in the Fountain" and the unforgettable scene in Federico Fellini’s "La Dolce Vita" have both helped make the fountain famous around the world. The coins collected from the fountain are put to good use, as they are regularly gathered to support local charities.
Today, the Trevi Fountain is one of Rome’s most visited attractions. The square around the fountain is much smaller than St. Peter’s Square, so it often fills up quickly with crowds. With so many people gathering in a small area, visitors are reminded to be careful and keep an eye on their belongings, as the fountain area is also known for pickpocketing.
Source - https://en.wikipedia.org/wiki/Trevi_Fountain
This is not, contrary to popular belief, one of the original seven hills that Rome was founded on. It is the second highest after Monte Mario, though, and offers incredible panoramic views of the city as long as the authorities remember to prune the trees on the hillside (if they are too tall you can walk a few meters down the hill for views that are just as good). On the other side of the piazza there is also a nice view of the dome of St. Peter's. The Piazza and the street leading up the hill are dedicated to Giuseppe Garibaldi who led Italian troops against the French here in 1849. There are also several commemorative statues.
Designed by Bramante to mark the spot of St. Peter's martyrdom, this delightful miniature building is considered a masterpiece of Renaissance architecture. Open to the public.
This archaeological site displays the thermal baths of the villa of the wealthy Herod Atticus. Also in the complex is a restored villa, until 2002 a private residence, that has an exterior completely covered with pieces from Roman ruins, including pipes used in the baths. There are some very helpful staff to show you around, although they only speak Italian. An interesting photographic exhibition in the house traces the development of the Appian Way over the last century. Almost opposite the entrance to the baths is a ruined tower known as the Torre di Capo di Bove.
The mausoleum of Cecilia Metella, who died in 69 BC, is the best preserved monument on the Appian Way and dominates the surroundings. In the Middle Ages it was transformed into a fortress and battlements were added. At that time there was considerable competition for ownership because of its strategic location.
The Collegio Romano was a college of the Jesuit order. Many popes, cardinals and bishops were educated here. Since 1870 it has been a secular (non-monastic) school. The coat of arms on the doorway is that of Pope Gregory XIII (1572–1585). The tower was erected in 1787 and served as an observatory. Until 1925 all clocks in Rome were set after that of the Collegio Romano.
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).
A 5th-century basilica, simply and attractively decorated. The wooden door, of which 18 carved panels of scenes from the Bible survive, is believed to date from the church's construction.
A very ancient church named after a saint who was in 1969 removed from the Roman Catholic calendar of saints for the lack of details of her life. But the church retains the name and is well worth visiting for an excellent 4th-century mosaic and attractive decorations on the facade. Visiting hours are short, but if you arrive close to 11:30, try talking to the attendant if you see him, and he might let you visit for a few minutes. The church is small, so 15 minutes should be long enough to see and absorb everything.
This impressive villa covers 23 hectares. It can be accessed from the Via Appia Nuova (Bus 118) or through Via Appia Antica 251. Parts can be seen from the Appian Way at around the 5th mile just after No 251. The villa was built by Maximus and Condinus Quintilii. The emperor Commudus liked it so much that he put the brothers to death in 182 AD and took it for himself. A museum has friezes and sculptures from the villa. The nypheum, the tepidarium and the baths may also be visited. At Appia Antica 251 is Santa Maria Nova, a farmhouse that has undergone many reincarnations since being built on top of a Roman cistern that was probably used by Villa dei Quintilii.
The contours of the ancient stadium, built in the 6th Century B.C., are still visible in what is now a park in the shadow of the Palatine. Circus Maximus was primarily devoted to chariot races and was used for this purpose until around 550 AD. The stadium could seat up to 150,000 people. Originally built of wood, it burnt down twice, on the second occasion starting the great fire when the Emperor Nero was said to fiddle while Rome burned. It was in one of the tunnels here that Caligula met his end. Excavations began in 2009 at the east end of the circus and are likely to go on for some years.
A 19th-century addition to the square, made to balance the Fontana del Moro.