羅馬景點介紹
『壹』 羅馬有哪些必去的景點
萬神殿——公元前27年興建、公元120年重建的萬神殿（Pantheon）
古羅馬競技場(8張)
形式，使內部空間得以解放。競技場設計了寬敞的階梯和走廊，並設計了八十個拱門，在每一個拱門的入口處都有標有數字，方便讓觀眾很快的找到自己的座位，可以讓五萬人於十分鍾內進入劇場內坐定。這樣的設計即使在今天也算是很先進的。競技場的功能性設計也非常合理，角鬥士從何處出入，在哪裡休息，猛獸關在哪裡，死傷者從何處抬出，都有清晰的分布。難怪陳運和的詩稱之為"斗獸場大概只能算奴隸社會的一塊傷疤"。[8]
聖母瑪利亞大教堂——不論是其金黃色的天花板，還是那15世紀就有的馬賽克裝飾，這座恢弘庄嚴的教堂在世界建築界，都是舉世矚目的。它由聖母瑪利亞大教堂建造於12世紀，同時也是義大利最古老的建築之一。
聖彼得大教堂——這座建於公元五世紀的教堂式建築，是由米開朗基羅親自為羅馬教皇尤利烏斯二世設計的，其正面那座高大聳立的雕像，也是這座建築最具標志性的特色。然而，由於當時的財務困境和教皇的心意變化，直接迫使米開朗基羅放棄了他餘下的計劃，而這一轉折也同時困擾了他的餘生。
梵蒂岡博物館——這個博物館曾是世界上最小的國家博物館，同時也是最偉大的博物館。為什麼這么說呢？其實是因為這個博物館面積雖然不大，但是裡面的藏品盡然可以媲美倫敦大英博物館和盧浮宮。博物館本來是羅馬教皇的宮廷，後來被改造成為了梵蒂岡國家博物館。這座博物館主要以收藏藝術品為主，大部分是文藝復興時期留下的藝術精髓，如米開朗琪羅創作的《創世紀》和《最後的審判》都藏於此，十分值得一看。同時，對於愛好考古的朋友來說，館內對於一些古希臘、古羅馬文物的收藏同樣值得研究。當然，除了裡面的藏品，博物館本身的建築風格也很值得稱道。
圖拉真集市——根據研究調查，圖拉真集市的歷史已經可以追溯到遙遠的公元二世紀了，而這個時期，也是羅馬曾經創建古辦事處的歷史階段。如今，圖拉真集市范圍內，包含了例如帝國廣場博物館這樣的偉大建築，歷史價值著實令人震驚。
『貳』 電影羅馬假日中都涉及到了那些羅馬著名的名勝 景點
曲目簡介.Roam2.EverywhereSheGoes-Daylights3.ThereYouAre-CarolynArends4.NoReason5.Laugh6.WhatADrag7.ItComesInTime-FlightOfMavis8.LifeIsGood9.IfTonight[*]10.470[*]11.SinnerOrSaint[*]-Crashpalace12.NeverLookBack-Noogie
『叄』 羅馬有什麼名勝古跡
折疊購物街區
歐洲處處購物天堂，但義大利可說是"天堂中的天堂"。在羅馬，從特別高級的用品到時髦的小東西
古羅馬競技場形式，使內部空間得以解放。競技場設計了寬敞的階梯和走廊，並設計了八十個拱門，在每一個拱門的入口處都有標有數字，方便讓觀眾很快的找到自己的座位，可以讓五萬人於十分鍾內進入劇場內坐定。這樣的設計即使在今天也算是很進步的。競技場的功能性設計也非常合理，角鬥士從何處出入，在哪裡休息，猛獸關在哪裡，死傷者從何處抬出，都有清晰的分布。難怪陳運和的詩稱之為"斗獸場大概只能算奴隸社會的一塊傷疤"。
聖母瑪利亞大教堂--不論是其金黃色的天花板，還是那15世紀就有的馬賽克裝飾，這座恢弘庄嚴的教堂在世界建築界，都是舉世矚目的。它由聖母瑪利亞大教堂建造於12世紀，同時也是義大利最古老的建築之一。
聖彼得大教堂--這座建於公元五世紀的教堂式建築，是由米開朗基羅親自為羅馬教皇尤利烏斯二世設計的，其正面那座高大聳立的雕像，也是這座建築最具標志性的特色。然而，由於當時的財務困境和教皇的心意變化，直接迫使米開朗基羅放棄了他餘下的計劃，而這一轉折也同時困擾了他的餘生。
梵蒂岡博物館--這個博物館曾是世界上最小的國家博物館，同時也是最偉大的博物館。為什麼這么說呢?其實是因為這個博物館面積雖然不大，但是裡面的藏品盡然可以媲美倫敦大英博物館和盧浮宮。博物館本來是羅馬教皇的宮廷，後來被改造成為了梵蒂岡國家博物館。這座博物館主要以收藏藝術品為主，大部分是文藝復興時期留下的藝術精髓，如米開朗琪羅創作的《創世紀》和《最後的審判》都藏於此，十分值得一看。同時，對於愛好考古的朋友來說，館內對於一些古希臘、古羅馬文物的收藏同樣值得研究。當然，除了裡面的藏品，博物館本身的建築風格也很值得稱道。
圖拉真集市--根據研究調查，圖拉真集市的歷史已經可以追溯到遙遠的公元二世紀了，而這個時期，也是羅馬曾經創建古辦事處的歷史階段。如今，圖拉真集市范圍內，包含了例如帝國廣場博物館這樣的偉大建築，歷史價值著實令人震驚。
『肆』 羅馬的名勝古跡有哪些
推薦：萬神殿、 真理之口、 卡拉卡拉浴場、 天使的聖瑪麗亞教堂 、羅馬許願池、 羅馬斗獸場、 波各賽美術館等。
『伍』 羅馬的主要景點
西班牙台階+廣場
早上6點半左右到的，感覺就是我們包場，前一天晚上下大雨導致6點地都沒乾颱階也是濕的，照片就沒辦法坐著拍。當天下午4點多又回了一次西班牙台階，那個人多是多的來。這個景點只需要乘地鐵到西班牙廣場站下來即可，西班牙台階正對著一個，赫本在那裡洗過手，也可以走進去洗洗手沾沾仙氣！費用：不收費
特萊維噴泉（少女許願池）
直接從西班牙階梯走過去，走到背面就聽到轟轟的水聲了，這個景點我的小夥伴說比他想像的要大很多。很多外國小美女坐在噴泉的邊緣拍照，那個邊緣真的好濕，她們也是坐的下去的。此景點美女多情侶多，我和小夥伴看了一眼拍了個照就走了。因為我這次其實是第二次去羅馬了，第一次就在少女許願池許過願丟過硬幣，許願的方法是右手拿著硬幣背對噴泉從左肩上方丟出，寓意從「心」出發的願望，可以許三個，而第一個必須是重返羅馬。費用：不收費。
萬神殿
直接從噴泉走過去的，花費10-15分鍾看你走的快不快了，這個景點到了以後真的震撼，人在石柱下面極度渺小，最主要是去的早沒人啊，小夥伴對著噴泉上一個吐水翻白眼的雕像拍了半天（惡趣味），這個景點我還用羅馬假日的音樂拍了段視頻。費用：外觀不收費。
納沃納廣場
這個廣場其實超級美，有噴泉有石柱也有漂亮的建築，而且很大，只是名氣不是那麼響。那天早上因為地上有露水，廣場上成片的水塘，好多舉著單反的人對著水塘狂拍我們也去試了一下，拍出來真的嗲，清澈又泛著波光的感覺。費用：不收費。
聖天使橋+聖天使堡
《羅馬假日》裡面赫本去參加晚宴的地方就在聖天使橋下，最近有個梁朝偉和吳亦凡的電影叫《歐洲攻略》也在這個橋上取景了。橋兩邊的雕塑都有代表不同的意思。費用：聖天使橋免費。
古羅馬斗獸場
進入斗獸場以後上樓梯，每個角度都可以無限拍拍拍，可以在斗獸場里呆很久，因為真的很大很大。這張照片我覺得是此次行程最牛的一張作品了。是在下樓梯的時候看到有個窗戶拍影子估計效果不錯，一看果不其然，窗外還是斗獸場的風景。然後出了斗獸場有一個很高的牆壁可以拍到斗獸場的外觀，是要爬到牆壁上拍的，一定要注意安全。費用：羅馬pass買來190元免排隊進入斗獸場。
真理之口
『陸』 羅馬有什麼好玩的地方哪些景點必去
1、古羅馬斗獸場推薦理由:羅馬最吸引遊客的景點，斷壁殘垣依然能夠映射出古代角斗場的血腥氣氛
2、許願池
推薦理由:全球最大的巴洛克式噴泉，傳說情侶共同將硬幣投入其中時，愛情便會永恆
3、威尼斯廣場
推薦理由:羅馬最大的廣場 ，其周邊的建築，風格別具一格，恢弘大氣
4、古羅馬遺址
推薦理由:古羅馬帝國的經濟、文化中心，遊人可在斑駁磚石間重溫昔日羅馬的輝煌
5、萬神殿
推薦理由:屋大維用來供奉奧林匹亞諸神的宮殿，所有圓頂建築的鼻祖與典範之作
6、西班牙廣場
推薦理由:因《羅馬假日》中赫本吃冰淇淋一幕而聞名的廣場， 炎炎夏日的避暑聖地
7、聖天使城堡
推薦理由:羅馬帝國皇帝哈德良的陵墓，現已成為博物館，電影《羅馬假日》的取景地
8、真理之口
推薦理由:富有本土特色的「測謊儀」，因《羅馬假日》而聞名於世
9、納沃納廣場
推薦理由:廣場上的四河噴泉是羅馬最具代表性的噴泉之一，街頭藝術家的聚集地
10、君士坦丁凱旋門
推薦理由:有一千七百年歷史的凱旋門，也是羅馬城現今保存最完好的一座
還有3109條相關問答，更多羅馬新奇玩法，點擊查看
『柒』 羅馬景點的英文介紹
競技場 (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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許願池(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.
羅馬有以下旅遊景點 羅馬最著名旅遊景點推薦給您：
古羅馬斗獸場
羅馬最吸引遊客的景點，斷壁殘垣依然能夠映射出古代角斗場的血腥氣氛。
許願池
全球最大的巴洛克式噴泉，傳說情侶共同將硬幣投入其中時，愛情便會永恆。
萬神殿
屋大維用來供奉奧林匹亞諸神的宮殿，所有圓頂建築的鼻祖與典範之作。
古羅馬遺址
古羅馬帝國的經濟、文化中心，遊人可在斑駁磚石間重溫昔日羅馬的輝煌。
西班牙廣場
因《羅馬假日》中赫本吃冰淇淋一幕而聞名的廣場， 炎炎夏日的避暑聖地。
『玖』 羅馬有哪些著名的旅遊景點
http://www.blyo.net/GWJQ.ASP?sheng=%D2%E2%B4%F3%C0%FB&JQ=%C2%DE%C2%ED&show=SJ 去這里看吧奎里納勒宮(Palazzo del Quirinale)位於奎里納勒山，奎里納勒山是羅馬七座山丘中最高的一個山頭。在古代，這里是供奉奎里諾神的地方(當時這座山丘曾被來自庫里城的撒比尼人佔領)。 奎里納勒宮是幾位教皇在十六世紀下半葉建造的。1870年之前，一直是教皇的夏令行宮。義大利統一後直到二戰末期為止，一直是皇宮。現在是共和國總統府。 奎里納勒宮前廣場中央有雙子星噴泉，噴泉上有四尊古羅馬時期的雙子星神和他們的馬匹的雕像。這些雕像是1787年在奎里納勒山丘上的君士坦丁浴場發現的，是希臘原作的仿製品。 1787年，增添了一座從奧古斯都陵墓搬來的方尖碑；1818年，又增添了灰色的花崗石石盆，石盆原先放在羅馬市苑元老院前面的。 景點地址: Palazzo del Quirinale 公共汽車：116T、116、117、52、53、56、58等多路到達「BARBERINI」站下車步行5分鍾 開放時間: 在每個月的第二、第四個周日的早上8:00—12:30，有人帶領解說。參考資料： http://life.sina.com.cn/art/2005-04-01/68897.shtml
『拾』 義大利羅馬有什麼好玩的 羅馬旅遊景點大全
1、古羅馬斗獸場又稱圓形競技場，位於古羅馬廣場較低的一頭，佔地六英畝，像一座由石灰石壘成的頂部凹陷的小山。斗獸場外牆布滿大得令人生畏的拱門；內部是裂痕累累的座位席，底部是一個曾經人獸決斗表演的平台，平台下方是關閉野獸和奴隸的隔間。站在底部，可以感受到深深的壓迫感襲來！這座龐大的斗獸場在血腥味最濃的鼎盛時期始終是座無虛席的，最狂熱的場面比比皆是，但卻從未能像今日作為一座廢墟那樣打動人心。
2、梵蒂岡博物館(Vatican Museums)在公元5世紀末就有了雛形。內部展示空間極大，包括很多博物館和展廳，保存著無數古希臘、古羅馬、古埃及、中世紀以及文藝復興以來的藝術珍寶。西斯廷教堂和拉斐爾畫室是梵蒂岡博物館的鎮館之寶。
博物館的主要展廳主要包括：八角庭院、動物雕塑館、繆斯廳、圓形大廳、馬車廳、燭台陳列廊、壁毯陳列廊廳、地圖陳列廊、聖母懷胎廊廳、拉斐爾畫室、博爾戈大火廳、西斯廷教堂、梵蒂岡圖書館和畫廊。博物館內所展示的巨作使梵蒂岡博物館毫無爭議地成為世界上最大最輝煌的博物館之一。
3、許願池是羅馬市內最大的也是知名度最高的噴泉。噴泉位在三條街的交叉口，Trevi即有「三岔口」之意。許願池同時還是全球最大的巴洛克式噴泉，在電影《羅馬假日》風靡全球後聞名於全世界。