罗马必玩景点介绍
Ⅰ 意大利最值得去的旅游景点有哪些｝
意大利是欧洲前史古国，在旧石器时代就已有人类在这片土地上生活。据古代神话，传说罗慕路斯和他的孪生兄弟雷穆斯是由母狼抚养和哺育的——于公元前753年建立了罗马。事实上，自公元前2000年左右，古意大利部落就寓居于此。
罗马是意大利的首都和最大的城市，也是全国政治、经济、文明和交通中心，已有2500余年前史，是国际闻名的前史文明名城，古罗马帝国的发祥地，因建城前史悠久而被昵称为“永久之城”。城市位于意大利半岛中西部，台伯河下流平原地的七座小山丘上，市中心面积有1200多平方公里。是意大利占地面积最广、人口最多的城市，也是国际最闻名的旅游地之一。
罗马的主要景点有万神殿，万神殿被米开朗基罗称赞为天使的设计，在608年被献给教会作为圣母的祭堂，殿堂内部比例十分协调恰当，大圆顶的基座是从总高度的中央地方开始建起，充分表现出罗马的建筑师们高深的建筑知识合深奥的计算方法，万神殿同时也是一座注重内部装饰更胜于外部造型的殿堂。
古罗马竞技场，悦禾游客在这里可以见到古罗马建筑最基本的结构和最伟大的成就，竞技场内设计了宽敞的阶梯和走廊，总共还设计了标有数字的八十个拱门，是为了方便观众能够很快找到自己的座位，可以让几万人在十分钟以内找到自己的座位，设计的非常清晰。
圣母玛利亚大教堂不论是金黄色的天花板还是15世纪就有的马赛克装饰，在世界建筑界都是举世瞩目的，同时也是意大利最古老的建筑之一。
梵蒂冈博物馆曾经是世界上最小的同时也是最伟大的博物馆，它的面积虽然不大，但是里面的藏品可以媲美伦敦大英博物馆和卢浮宫。里面主要是以收藏艺术品为主，对于喜欢考古的人来说，馆内非常值得研究。
意大利也可以说是购物天堂，从特别高级的用品到时髦的小东西样样俱全，是欧洲最容易买到又好又便宜的东西的地方。
Ⅱ 罗马有什么景点介绍一下它的历史
罗马，意大利的首都，位于台伯河下游平原，是意大利政治、历史和文化和和交通中心，同时也是古罗马和世界灿烂文化的发祥地，已有2500余年历史。它是一座艺术宝库、文化名城，也是罗马天主教廷所在地。是意大利占地面积最广、人口最多的城市，也是世界最著名的游览地之一。
罗马斗兽场，亦译作罗马大角斗场、罗马竞技场、罗马圆形竞技场、科洛西姆、哥罗塞姆，原名弗莱文圆形剧场（Amphitheatrum Flavium），建于公元72至82年间，是古罗马文明的象征。遗址位于意大利首都罗马市中心，它在威尼斯广场的南面，古罗马市场附近。从外观上看，它呈正圆形；俯瞰时，它是椭圆形的。它的占地面积约2万平方米，最大直径为188米，小直径为156米，圆周长527米，围墙高57米，这座庞大的建筑可以容纳近九万人数的观众。
罗马斗兽场，亦译作罗马大角斗场、罗马竞技场、罗马圆形竞技场、科洛西姆、哥罗塞姆，原名弗莱文圆形剧场（Amphitheatrum Flavium），建于公元72至82年间，是古罗马文明的象征。遗址位于意大利首都罗马市中心，它在威尼斯广场的南面，古罗马市场附近。从外观上看，它呈正圆形；俯瞰时，它是椭圆形的。它的占地面积约2万平方米，最大直径为188米，小直径为156米，圆周长527米，围墙高57米，这座庞大的建筑可以容纳近九万人数的观众。
西斯廷教堂始建于1445年，由教皇西斯都四世发起创建，教堂的名字“西斯廷”便是来源于当时的教皇之名“西斯都”。教堂长40.25米，宽13.41米，高20.73米。是依照《列王纪》第6章中所描述的所罗门王神殿，按照比例(60:20:30)所建。西斯廷教堂是罗马教皇的私用经堂，也是教皇的选出仪式的举行之处。
米开朗基罗·博那罗蒂(Michelangelo Buonarroti, 1475－1564)，意大利文艺复兴时期伟大的绘画家、雕塑家、建筑师和诗人，文艺复兴时期雕塑艺术最高峰的代表。与拉斐尔和达芬奇并称为文艺复兴后三杰。
罗马，意大利的首都，位于台伯河下游平原，是意大利政治、历史和文化和和交通中心，同时也是古罗马和世界灿烂文化的发祥地，已有2500余年历史。它是一座艺术宝库、文化名城，也是罗马天主教廷所在地。是意大利占地面积最广、人口最多的城市，也是世界最著名的游览地之一。另有，意大利著名足球俱乐部“罗马”、同名美国电视剧《罗马》和贵州省文史研究馆馆员罗马。
真理之口(Bocca della verità) 是一人形面孔，有鼻有眼，张着一张大嘴。相传，若谁不说真话，它就会咬住他的手。到这里观光的旅客，纷纷将手伸进嘴中试一试自己的手会不会被咬。由于千千万万只手在真理之口中伸来伸去，这张大嘴已被人们的手指磨得锃亮。
罗马斗兽场由弗拉维安王朝的三个皇帝建造，它正式的名字是弗拉维安竞技常它的建造是这个新王朝的家族为提高自身在公众中的地位而发起的一系列运动的一部分。韦斯帕西恩（公元69—79年）是这个王朝的缔造者，他的出身并不高贵；在尼禄自杀后的一年中，罗马又经历了三个短命皇帝的失败的统治，韦斯帕西恩随后坐上了皇位。那时尼禄并未被遗忘；他所吞噬的广袤的土地和其他的奢侈物已经激起民愤。因此，当韦斯帕西恩决定填平那属于尼禄的豪华金色宫殿的人工湖．将其变成公共娱乐场所的时候，几乎没有任何人提出异议。
君士坦丁凯旋门建于315年，是为了纪念君士坦丁大帝击败马克森提皇帝统一罗马帝国而建的。凯旋门上方的浮雕板是当时从罗马其它建筑上直接取来的，主要内容为历代皇帝的生平业绩，如安东尼、哈德连等，下面则是君士坦丁大帝的战斗场景。所以君士坦丁凯旋门虽然是罗马三座凯旋门中建造最晚的一座，但仍然可以看出早期罗马艺术的影子，而且保存比较完好，值得一看。这是一座三个拱门的凯旋门，高21米，面阔25.7米，进深7.4米。由于它调整了高与阔的比例，横跨在道路中央，显得形体巨大。凯旋门的里里外外充满了各种浮雕，表面上看去，巨大的凯旋门和丰富的浮雕虽然气派很大，但缺乏整体观念。原因是凯旋门的各个部分并非作为一个统一体而创作的，甚至其中的大部分构件是从过去的一些纪念性建筑，如图拉真广场建筑上的横饰带、哈德良广场上一系列盾形浮雕以及马克·奥尔略皇帝纪念碑上的八块镶板，拆除过来的。尽管如此，它仍不失为一座宏伟壮观的凯旋门，尤其是它上面所保存的罗马帝国各个重要时期的雕刻，是一部生动的罗马雕刻史。
作为教皇所在地和基督教的精神中心，梵蒂冈是罗马市内的一个真正的国家 (教皇为元首)，它被教科文组织宣布为人类文化遗产，是一个非凡的艺术宝库。绝不可错过的有圣比得广场，世界上最大的广场之一，贝尼尼的建筑杰作，他在 1656至1667年间用284根和88根的双排柱围成了宏大的椭圆形广场。在广场上有被认为是世界上最漂亮、雄伟的圣比得教堂。在施工中担任指挥的有最重要的大师布拉曼特、拉斐尔和米开朗琪罗，后者实现了高达119米的教堂大圆顶。不可不看的还有梵蒂冈博物馆，特别是西斯廷厅，那是整个艺术史的最高层次的杰作之一；文艺复兴时期的几位意大利大师都为其绘画：波提切利、基尔兰达佑和米开朗琪罗，后者画了天花板上的壁画。最突出的是米开朗琪罗的最高杰作“最后的审判”。
Ⅲ 意大利的首都罗马有哪些好玩的景点
Day11：米兰（世博会）
曼佐尼街、瓦尔塞吉博物馆、圣西罗球场。。。。各种教堂
Day12：威尼斯本身并不大，夜景很美，最好在岛上住一晚。
（有时间可以去周围小岛
Day13：威尼斯到佛罗伦萨（列车快车将近2个小时）
生母白花大教堂、但丁故居。。。。
Day14：
晚上佛罗伦萨列车到罗马
DAY15罗马斗兽场、西班牙广场、古罗马广场
Day16：罗马、梵蒂冈、许愿池、真理之口
晚上罗马列车到那不勒斯
Day16：庞贝古城
Day17 ：返回罗马罗马到北京
这是我们这个暑假自由行意大利部分的行程，单独玩罗马的话其实在小巷里面逛逛是最有感觉的。
Ⅳ 罗马有哪些必去的景点
万神殿——公元前27年兴建、公元120年重建的万神殿（Pantheon）
古罗马竞技场(8张)
形式，使内部空间得以解放。竞技场设计了宽敞的阶梯和走廊，并设计了八十个拱门，在每一个拱门的入口处都有标有数字，方便让观众很快的找到自己的座位，可以让五万人于十分钟内进入剧场内坐定。这样的设计即使在今天也算是很先进的。竞技场的功能性设计也非常合理，角斗士从何处出入，在哪里休息，猛兽关在哪里，死伤者从何处抬出，都有清晰的分布。难怪陈运和的诗称之为"斗兽场大概只能算奴隶社会的一块伤疤"。[8]
圣母玛利亚大教堂——不论是其金黄色的天花板，还是那15世纪就有的马赛克装饰，这座恢弘庄严的教堂在世界建筑界，都是举世瞩目的。它由圣母玛利亚大教堂建造于12世纪，同时也是意大利最古老的建筑之一。
圣彼得大教堂——这座建于公元五世纪的教堂式建筑，是由米开朗基罗亲自为罗马教皇尤利乌斯二世设计的，其正面那座高大耸立的雕像，也是这座建筑最具标志性的特色。然而，由于当时的财务困境和教皇的心意变化，直接迫使米开朗基罗放弃了他余下的计划，而这一转折也同时困扰了他的余生。
梵蒂冈博物馆——这个博物馆曾是世界上最小的国家博物馆，同时也是最伟大的博物馆。为什么这么说呢？其实是因为这个博物馆面积虽然不大，但是里面的藏品尽然可以媲美伦敦大英博物馆和卢浮宫。博物馆本来是罗马教皇的宫廷，后来被改造成为了梵蒂冈国家博物馆。这座博物馆主要以收藏艺术品为主，大部分是文艺复兴时期留下的艺术精髓，如米开朗琪罗创作的《创世纪》和《最后的审判》都藏于此，十分值得一看。同时，对于爱好考古的朋友来说，馆内对于一些古希腊、古罗马文物的收藏同样值得研究。当然，除了里面的藏品，博物馆本身的建筑风格也很值得称道。
图拉真集市——根据研究调查，图拉真集市的历史已经可以追溯到遥远的公元二世纪了，而这个时期，也是罗马曾经创建古办事处的历史阶段。如今，图拉真集市范围内，包含了例如帝国广场博物馆这样的伟大建筑，历史价值着实令人震惊。
Ⅳ 罗马有哪些旅游景点 罗马旅游景点介绍
罗马有以下旅游景点 罗马最著名旅游景点推荐给您：
古罗马斗兽场
罗马最吸引游客的景点，断壁残垣依然能够映射出古代角斗场的血腥气氛。
许愿池
全球最大的巴洛克式喷泉，传说情侣共同将硬币投入其中时，爱情便会永恒。
万神殿
屋大维用来供奉奥林匹亚诸神的宫殿，所有圆顶建筑的鼻祖与典范之作。
古罗马遗址
古罗马帝国的经济、文化中心，游人可在斑驳砖石间重温昔日罗马的辉煌。
西班牙广场
因《罗马假日》中赫本吃冰淇淋一幕而闻名的广场， 炎炎夏日的避暑圣地。
Ⅵ 罗马有哪些著名的旅游景点
http://www.blyo.net/GWJQ.ASP?sheng=%D2%E2%B4%F3%C0%FB&JQ=%C2%DE%C2%ED&show=SJ 去这里看吧奎里纳勒宫(Palazzo del Quirinale)位于奎里纳勒山，奎里纳勒山是罗马七座山丘中最高的一个山头。在古代，这里是供奉奎里诺神的地方(当时这座山丘曾被来自库里城的撒比尼人占领)。 奎里纳勒宫是几位教皇在十六世纪下半叶建造的。1870年之前，一直是教皇的夏令行宫。意大利统一后直到二战末期为止，一直是皇宫。现在是共和国总统府。 奎里纳勒宫前广场中央有双子星喷泉，喷泉上有四尊古罗马时期的双子星神和他们的马匹的雕像。这些雕像是1787年在奎里纳勒山丘上的君士坦丁浴场发现的，是希腊原作的仿制品。 1787年，增添了一座从奥古斯都陵墓搬来的方尖碑；1818年，又增添了灰色的花岗石石盆，石盆原先放在罗马市苑元老院前面的。 景点地址: Palazzo del Quirinale 公共汽车：116T、116、117、52、53、56、58等多路到达“BARBERINI”站下车步行5分钟 开放时间: 在每个月的第二、第四个周日的早上8:00—12:30，有人带领解说。参考资料： http://life.sina.com.cn/art/2005-04-01/68897.shtml
Ⅶ 罗马景点的英文介绍
竞技场 (The Colosseum or Coliseum)
The Colosseum or Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is one of the greatest works of Roman architecture and engineering.
Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD under the emperor Vespasian and was completed in 80 AD under Titus, with further modifications being made ring Domitian's reign (81–96).[1] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus' family name ("Flavius, from the gens Flavia).
Originally capable of seating around 50,000 spectators, the Colosseum was used for gladiatorial contests and public spectacles. It remained in use for nearly 500 years with the last recorded games being held there as late as the 6th century – well after the traditional date of the fall of Rome in 476. As well as the traditional gladiatorial games, many other public spectacles were held there, such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building eventually ceased to be used for entertainment in the early medieval era. It was later reused for such varied purposes as housing, workshops, quarters for a religious order, a fortress, a quarry and a Christian shrine.
Although it is now in a ruined condition e to damage caused by earthquakes and stone-robbers, the Colosseum has long been seen as an iconic symbol of Imperial Rome. Today it is one of modern Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession to the amphitheatre.
The Colosseum is also depicted on the Italian version of the five euro-cent coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name.[2] This name is still used frequently in modern English, but it is generally unknown.
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[1] This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times and substituted with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, the Venerable Bede (c. 672–735) wrote a famous epigram celebrating the symbolic significance of the statue: Quandiu stabit coliseus, stabit et Roma; quando cadit coliseus, cadet et Roma; quando cadet Roma, cadet et muns ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[3] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, probably being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" (a neuter noun) had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[4]
The name was further corrupted to Coliseum ring the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
Construction of the Colosseum began under the rule of the Emperor Vespasian[1] in around 70–72. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavillions, gardens and porticoes. The existing Aqua Claudia aquect was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[4]
The area was transformed under Vespasian and his successors. Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories.[4] Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.
The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[1] Dio Cassius recounts that over 9,000 wild animals were killed ring the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly-designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[5]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–450), possibly to repair damage caused by a major earthquake in 443; more work followed in 484 and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523.[4]
Medieval
Map of medieval Rome depicting the ColosseumThe Colosseum underwent several radical changes of use ring the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake of 1349, causing the outer south side to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble facade) was burned to make quicklime.[4] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
Exterior
The exterior of the Colosseum, showing the partially intact outer wall (left) and the mostly intact inner wall (right)
Original façade of the Colosseum
Entrance LII of the Colosseum, with Roman numerals still visibleUnlike earlier amphitheatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It is elliptical in plan and is 189 metres (615 ft / 640 Roman feet) long, and 156 metres (510 ft / 528 Roman feet) wide, with a base area of 6 acres. The height of the outer wall is 48 metres (157 ft / 165 Roman feet). The perimeter originally measured 545 metres (1,788 ft / 1,835 Roman feet). The central arena is an oval (287 ft) long and (180 ft) wide, surrounded by a wall (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[4] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Doric, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[11] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[1] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[12]
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[1] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII to LIV still survive.[4]
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
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许愿池(Fontana di Trevi)
The Trevi Fountain (Italian: Fontana di Trevi) is the largest — standing 25.9 meters (85 feet) high and 19.8 meters (65 feet) wide — and most ambitious of the Baroque fountains of Rome. It is located in the rione of Trevi.
The fountain at the juncture of three roads (tre vie) marks the terminal point of the "modern" Acqua Vergine, the revivified Aqua Virgo, one of the ancient aquects that supplied water to ancient Rome. In 19 BC, supposedly with the help of a virgin, Roman technicians located a source of pure water some 13 km (8 miles) from the city. (This scene is presented on the present fountain's facade). However, the eventual indirect route of the aquect made its length some 22 km (14 miles). This Aqua Virgo led the water into the Baths of Agrippa. It served Rome for more than four hundred years. The "coup de grace" for the urban life of late classical Rome came when the Goth besiegers in 537/38 broke the aquects. Medieval Romans were reced to drawing water from polluted wells and the Tiber River, which was also used as a sewer.
The Roman custom of building a handsome fountain at the endpoint of an aquect that brought water to Rome was revived in the fifteenth century, with the Renaissance. In 1453, Pope Nicholas V finished mending the Acqua Vergine aquect and built a simple basin, designed by the humanist architect Leon Battista Alberti, to herald the water's arrival.
[edit] The present fountain
[edit] Commission, construction and design
In 1629 Pope Urban VIII, finding the earlier fountain insufficiently dramatic, asked Bernini to sketch possible renovations, but when the Pope died the project was abandoned. Bernini's lasting contribution was to resite the fountain from the other side of the square to face the Quirinal Palace (so the Pope could look down and enjoy it). Though Bernini's project was torn down for Salvi's fountain, there are many Bernini touches in the fountain as it was built. An early, striking and influential model by Pietro da Cortona also exists.
Competitions had become the rage ring the Baroque era to design buildings, fountains, and even the Spanish Steps. In 1730 Pope Clement XII organized a contest in which Nicola Salvi initially lost to Alessandro Galilei — but e to the outcry in Rome over the fact that a Florentine won, Salvi was awarded the commission anyway.[1] Work began in 1732, and the fountain was completed in 1762, long after Clement's death, when Pietro Bracci's 'Neptune' was set in the central niche.
Salvi died in 1751, with his work half-finished, but before he went he made sure a stubborn barber's unsightly sign would not spoil the ensemble, hiding it behind a sculpted vase. The Trevi Fountain was finished in 1762 by Giuseppe Pannini, who substituted the present bland allegories for planned sculptures of Agrippa and "Trivia", the Roman virgin.
[edit] Restoration
The fountain was refurbished in 1998; the stonework was scrubbed and the fountain provided with recirculating pumps.
[edit] Iconography
The backdrop for the fountain is the Palazzo Poli, given a new facade with a giant order of Corinthian pilasters that link the two main stories. Taming of the waters is the theme of the gigantic scheme that tumbles forward, mixing water and rockwork, and filling the small square. Tritons guide Neptune's shell chariot, taming seahorses (hippocamps).
In the center is superimposed a robustly modelled triumphal arch. The center niche or exedra framing Neptune has free-standing columns for maximal light-and-shade. In the niches flanking Neptune, Abundance spills water from her urn and Salubrity holds a cup from which a snake drinks. Above, bas reliefs illustrate the Roman origin of the aquects.
The tritons and horses provide symmetrical balance, with the maximum contrast in their mood and poses (by 1730, the rococo is already in full bloom in France and Germany).
[edit] Coin throwing
A traditional legend holds that if visitors throw a coin into the fountain, they are ensured a return to Rome. Among those who are unaware that the "three coins" of Three Coins in the Fountain were thrown by three different indivials, a reported current interpretation is that two coins will ensure a marriage will occur soon, while three coins leads to a divorce. A reported current version of this legend is that it is lucky to throw three coins with one's right hand over one's left shoulder into the Trevi Fountain.
Approximately 3,000 Euros are thrown into the fountain each day and are collected at night. The money has been used to subsidize a supermarket for Rome's needy. However, there are regular attempts to steal coins from the fountain, including some using a magnetized pole.
Ⅷ 请问去罗马旅游,哪些景点是必去的
罗马主要景点
万神殿、古罗马竞技场、圣母玛利亚大教堂、圣彼得大教堂、梵蒂冈博物馆、图拉真集市
Ⅸ 去罗马旅游 哪些景点是必去的
罗马斗兽场，亦译作罗马大角斗场、罗马竞技场、罗马圆形竞技场、科洛西姆、哥罗塞姆，原名弗莱文圆形剧场（Amphitheatrum Flavium），建于公元72至82年间，是古罗马文明的象征。遗址位于意大利首都罗马市中心，它在威尼斯广场的南面，古罗马市场附近。从外观上看，它呈正圆形；俯瞰时，它是椭圆形的。它的占地面积约2万平方米，最大直径为188米，小直径为156米，圆周长527米，围墙高57米，这座庞大的建筑可以容纳近九万人数的观众。
西斯廷教堂始建于1445年，由教皇西斯都四世发起创建，教堂的名字“西斯廷”便是来源于当时的教皇之名“西斯都”。教堂长40.25米，宽13.41米，高20.73米。是依照《列王纪》第6章中所描述的所罗门王神殿，按照比例(60:20:30)所建。西斯廷教堂是罗马教皇的私用经堂，也是教皇的选出仪式的举行之处。
米开朗基罗·博那罗蒂(Michelangelo Buonarroti, 1475－1564)，意大利文艺复兴时期伟大的绘画家、雕塑家、建筑师和诗人，文艺复兴时期雕塑艺术最高峰的代表。与拉斐尔和达芬奇并称为文艺复兴后三杰。
罗马，意大利的首都，位于台伯河下游平原，是意大利政治、历史和文化和和交通中心，同时也是古罗马和世界灿烂文化的发祥地，已有2500余年历史。它是一座艺术宝库、文化名城，也是罗马天主教廷所在地。是意大利占地面积最广、人口最多的城市，也是世界最著名的游览地之一。另有，意大利著名足球俱乐部“罗马”、同名美国电视剧《罗马》和贵州省文史研究馆馆员罗马。
真理之口(Bocca della verità) 是一人形面孔，有鼻有眼，张着一张大嘴。相传，若谁不说真话，它就会咬住他的手。到这里观光的旅客，纷纷将手伸进嘴中试一试自己的手会不会被咬。由于千千万万只手在真理之口中伸来伸去，这张大嘴已被人们的手指磨得锃亮。
罗马斗兽场由弗拉维安王朝的三个皇帝建造，它正式的名字是弗拉维安竞技常它的建造是这个新王朝的家族为提高自身在公众中的地位而发起的一系列运动的一部分。韦斯帕西恩（公元69—79年）是这个王朝的缔造者，他的出身并不高贵；在尼禄自杀后的一年中，罗马又经历了三个短命皇帝的失败的统治，韦斯帕西恩随后坐上了皇位。那时尼禄并未被遗忘；他所吞噬的广袤的土地和其他的奢侈物已经激起民愤。因此，当韦斯帕西恩决定填平那属于尼禄的豪华金色宫殿的人工湖．将其变成公共娱乐场所的时候，几乎没有任何人提出异议。
君士坦丁凯旋门建于315年，是为了纪念君士坦丁大帝击败马克森提皇帝统一罗马帝国而建的。凯旋门上方的浮雕板是当时从罗马其它建筑上直接取来的，主要内容为历代皇帝的生平业绩，如安东尼、哈德连等，下面则是君士坦丁大帝的战斗场景。所以君士坦丁凯旋门虽然是罗马三座凯旋门中建造最晚的一座，但仍然可以看出早期罗马艺术的影子，而且保存比较完好，值得一看。这是一座三个拱门的凯旋门，高21米，面阔25.7米，进深7.4米。由于它调整了高与阔的比例，横跨在道路中央，显得形体巨大。凯旋门的里里外外充满了各种浮雕，表面上看去，巨大的凯旋门和丰富的浮雕虽然气派很大，但缺乏整体观念。原因是凯旋门的各个部分并非作为一个统一体而创作的，甚至其中的大部分构件是从过去的一些纪念性建筑，如图拉真广场建筑上的横饰带、哈德良广场上一系列盾形浮雕以及马克·奥尔略皇帝纪念碑上的八块镶板，拆除过来的。尽管如此，它仍不失为一座宏伟壮观的凯旋门，尤其是它上面所保存的罗马帝国各个重要时期的雕刻，是一部生动的罗马雕刻史。
作为教皇所在地和基督教的精神中心，梵蒂冈是罗马市内的一个真正的国家 (教皇为元首)，它被教科文组织宣布为人类文化遗产，是一个非凡的艺术宝库。绝不可错过的有圣比得广场，世界上最大的广场之一，贝尼尼的建筑杰作，他在 1656至1667年间用284根和88根的双排柱围成了宏大的椭圆形广场。在广场上有被认为是世界上最漂亮、雄伟的圣比得教堂。在施工中担任指挥的有最重要的大师布拉曼特、拉斐尔和米开朗琪罗，后者实现了高达119米的教堂大圆顶。不可不看的还有梵蒂冈博物馆，特别是西斯廷厅，那是整个艺术史的最高层次的杰作之一；文艺复兴时期的几位意大利大师都为其绘画：波提切利、基尔兰达佑和米开朗琪罗，后者画了天花板上的壁画。最突出的是米开朗琪罗的最高杰作“最后的审判”。
Ⅹ 请问去罗马旅游，哪些景点时必去的
三天看罗马，如果要大致都看到，要有详尽的计划和暴走到底的决心。要不，就根据自己的兴趣突出重点。我是暴走族，基本上是六点前出门，九点回酒店的路子。因为不知题主风格，就说几个记忆深刻的点吧。早起基本是非常好的策略，因为时差原因，也很容易做到。有一天可以早起到梵蒂冈，在圣彼得广场看第一缕晨光，然后到圣彼得教堂参加早起的各种Service，不是天主教没关系。有尊敬和开放的心，还是很好的经历。之后作为第一波的游客游览教堂，一直登顶，看全城。上面还有一个小商店，买点小礼品什么的很好。我们当时很幸运，下来之后本来是想看一下第层的地宫，结果我上去问瑞士卫兵，人家给我指了一个办公室说tour在那边，误打误撞参加了一个要提前数月预订参观地下三层的团（很奇特的经历，推荐！）接下来可以去梵蒂冈博物馆，这个记得好像最好是要预约。中间可以在街上吃批萨，冰淇淋啥的。另有一天早上，仍旧是六点来钟，到西班牙阶梯那一站地铁下来，其实是在一个小山上，要走下来才是西班牙阶梯，许愿泉啥的。出了地铁在山上有一个小教堂，早起修女们唱圣歌，真正天籁。那个点，阶梯呀，泉啊都没啥人，比白天的经历好多了。在罗马恐怕看了有20多个教堂，这多年后印象深刻的反而不是大教堂，而是几个不那么知名的：CornaroChapel，SantaMariadellaVittoria，有伯尼尼的著名雕像，EcstasyofSaintTeresa.奇妙之处，请自行谷歌。在SanPietroinVincoli，可以看到米开朗琪罗的Moses，关键是去的时间早，人少，雕像挺近的，我摸了一下米大师作品的脚（为自己的行为羞愧，但我真的就轻轻摸了一下，其他米大师的作品是绝无可能有机会摸到的），幸福至今...ChiesadiSantaMariadelPopolo，下午时分（秋天，3点？）去，一束金黄光线从透明顶射入，非常感动，拍片子也极好。欧洲的教堂去了很多，只有这一家曾遇见这样美好的光线，有来自天庭的感觉（本人非教徒，但不反对）台伯河另一边有时间可以随便走走，人少，感受不大一样。零零碎碎，不知有无帮助。罗马可看的地方太多，城市也大（佛罗伦萨啥的和罗马一比简直是袖珍），一定做好计划，也提前多看背景材料才可能有更好的旅行经验。祝有美好的罗马假日。