罗马景点介绍
『壹』 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。
『贰』 电影罗马假日中都涉及到了那些罗马著名的名胜 景点
曲目简介.Roam2.EverywhereSheGoes-Daylights3.ThereYouAre-CarolynArends4.NoReason5.Laugh6.WhatADrag7.ItComesInTime-FlightOfMavis8.LifeIsGood9.IfTonight[*]10.470[*]11.SinnerOrSaint[*]-Crashpalace12.NeverLookBack-Noogie
『叁』 罗马有什么名胜古迹
折叠购物街区
欧洲处处购物天堂，但意大利可说是"天堂中的天堂"。在罗马，从特别高级的用品到时髦的小东西
古罗马竞技场形式，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进步的。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"。
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。
『肆』 罗马的名胜古迹有哪些
推荐：万神殿、 真理之口、 卡拉卡拉浴场、 天使的圣玛丽亚教堂 、罗马许愿池、 罗马斗兽场、 波各赛美术馆等。
『伍』 罗马的主要景点
西班牙台阶+广场
早上6点半左右到的，感觉就是我们包场，前一天晚上下大雨导致6点地都没干台阶也是湿的，照片就没办法坐着拍。当天下午4点多又回了一次西班牙台阶，那个人多是多的来。这个景点只需要乘地铁到西班牙广场站下来即可，西班牙台阶正对着一个，赫本在那里洗过手，也可以走进去洗洗手沾沾仙气！费用：不收费
特莱维喷泉（少女许愿池）
直接从西班牙阶梯走过去，走到背面就听到轰轰的水声了，这个景点我的小伙伴说比他想象的要大很多。很多外国小美女坐在喷泉的边缘拍照，那个边缘真的好湿，她们也是坐的下去的。此景点美女多情侣多，我和小伙伴看了一眼拍了个照就走了。因为我这次其实是第二次去罗马了，第一次就在少女许愿池许过愿丢过硬币，许愿的方法是右手拿着硬币背对喷泉从左肩上方丢出，寓意从“心”出发的愿望，可以许三个，而第一个必须是重返罗马。费用：不收费。
万神殿
直接从喷泉走过去的，花费10-15分钟看你走的快不快了，这个景点到了以后真的震撼，人在石柱下面极度渺小，最主要是去的早没人啊，小伙伴对着喷泉上一个吐水翻白眼的雕像拍了半天（恶趣味），这个景点我还用罗马假日的音乐拍了段视频。费用：外观不收费。
纳沃纳广场
这个广场其实超级美，有喷泉有石柱也有漂亮的建筑，而且很大，只是名气不是那么响。那天早上因为地上有露水，广场上成片的水塘，好多举着单反的人对着水塘狂拍我们也去试了一下，拍出来真的嗲，清澈又泛着波光的感觉。费用：不收费。
圣天使桥+圣天使堡
《罗马假日》里面赫本去参加晚宴的地方就在圣天使桥下，最近有个梁朝伟和吴亦凡的电影叫《欧洲攻略》也在这个桥上取景了。桥两边的雕塑都有代表不同的意思。费用：圣天使桥免费。
古罗马斗兽场
进入斗兽场以后上楼梯，每个角度都可以无限拍拍拍，可以在斗兽场里呆很久，因为真的很大很大。这张照片我觉得是此次行程最牛的一张作品了。是在下楼梯的时候看到有个窗户拍影子估计效果不错，一看果不其然，窗外还是斗兽场的风景。然后出了斗兽场有一个很高的墙壁可以拍到斗兽场的外观，是要爬到墙壁上拍的，一定要注意安全。费用：罗马pass买来190元免排队进入斗兽场。
真理之口
『陆』 罗马有什么好玩的地方哪些景点必去
1、古罗马斗兽场推荐理由: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
2、许愿池
推荐理由: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
3、威尼斯广场
推荐理由:罗马最大的广场 ，其周边的建筑，风格别具一格，恢弘大气
4、古罗马遗址
推荐理由: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
5、万神殿
推荐理由: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
6、西班牙广场
推荐理由: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
7、圣天使城堡
推荐理由:罗马帝国皇帝哈德良的陵墓，现已成为博物馆，电影《罗马假日》的取景地
8、真理之口
推荐理由:富有本土特色的“测谎仪”，因《罗马假日》而闻名于世
9、纳沃纳广场
推荐理由:广场上的四河喷泉是罗马最具代表性的喷泉之一，街头艺术家的聚集地
10、君士坦丁凯旋门
推荐理由:有一千七百年历史的凯旋门，也是罗马城现今保存最完好的一座
还有3109条相关问答，更多罗马新奇玩法，点击查看
『柒』 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.
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。
『玖』 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
『拾』 意大利罗马有什么好玩的 罗马旅游景点大全
1、古罗马斗兽场又称圆形竞技场，位于古罗马广场较低的一头，占地六英亩，像一座由石灰石垒成的顶部凹陷的小山。斗兽场外墙布满大得令人生畏的拱门；内部是裂痕累累的座位席，底部是一个曾经人兽决斗表演的平台，平台下方是关闭野兽和奴隶的隔间。站在底部，可以感受到深深的压迫感袭来！这座庞大的斗兽场在血腥味最浓的鼎盛时期始终是座无虚席的，最狂热的场面比比皆是，但却从未能像今日作为一座废墟那样打动人心。
2、梵蒂冈博物馆(Vatican Museums)在公元5世纪末就有了雏形。内部展示空间极大，包括很多博物馆和展厅，保存着无数古希腊、古罗马、古埃及、中世纪以及文艺复兴以来的艺术珍宝。西斯廷教堂和拉斐尔画室是梵蒂冈博物馆的镇馆之宝。
博物馆的主要展厅主要包括：八角庭院、动物雕塑馆、缪斯厅、圆形大厅、马车厅、烛台陈列廊、壁毯陈列廊厅、地图陈列廊、圣母怀胎廊厅、拉斐尔画室、博尔戈大火厅、西斯廷教堂、梵蒂冈图书馆和画廊。博物馆内所展示的巨作使梵蒂冈博物馆毫无争议地成为世界上最大最辉煌的博物馆之一。
3、许愿池是罗马市内最大的也是知名度最高的喷泉。喷泉位在三条街的交叉口，Trevi即有“三岔口”之意。许愿池同时还是全球最大的巴洛克式喷泉，在电影《罗马假日》风靡全球后闻名于全世界。