Sant' Agnese fuori le Mura (Saint Agnes outside the Walls) (via Nomentana)
This is one of the rare examples of Constantianian basilicas, built in the fourth century at the request of the daughter or niece of Constantine, over the catacombs where the martyr was buried. The catacombs, dating to the third century, are well conserved, presenting many inscriptions, burial niches and recesses.

Saint Augustine (Piazza di Sant'Agostino)
This was one of the first Renaissance churches of Rome, built by Pietrasanta at the end of the fifteenth century. The interior, divided into three naves, holds the Madonna del Parto by Sansovino, 1521; a fresco by Raphael of the prophet Isaiah, 1512; and the Madonna of the Pilgrims, masterpiece of Caravaggio, 1605.

Sant' Andrea al Quirinale (via del Quirinale)
This small elliptically-shaped church was designed by Bernini and built between 1658 and 1671 for the Cardinal Camillo Pamphili, nephew of Innocent X. It is decorated in gold, stucco and marble, with works by Baciccia, Borgognone and Raggi. The height of the dome increases the sensation of awe, while the abundant goldwork gives the interior a suggestive glow.

Sant'Andrea della Valle (Corso Vittorio Emanuele)
A large baroque church begun in 1591 by Giacomo della Porta and Francesco Grimaldi and finished in 1625 by Maderno with the construction of a marvelous dome. The interior, in one nave, contains frescoes from the seventeenth century by Domenichio and Lanfranco, statues in bronze, works by Raggi and the tombs of Pius II and Pius III.

Santi Apostoli (Piazza dei Santi Apostoli)
A basilica of the sixth century rebuilt in the fifteenth century and the beginning of the eighteenth century by Domenico and Carlo Fontana. The doorway with its nine arcades that enclose some Roman ruins is the work of Baccio Pontelli and dates to the late fifteenth century. The nineteenth-centuryfacade is by Valadier. The interior has three naves, with a chapel surmounted by a dome. The frescoes by Baciccia and Odazzi are interesting, as is the altarpiece by Domenico Muratori. At the back of the left nave is the monument of Clement XIV, the first Roman work by Canova.

San Carlo alle Quattro Fontane (via del Quirinale)
Commonly known as San Carlino, this tiny seventeenth-century church, planned by Borromini, is situated near Sant'Andrea al Quirinale. The monastery and the chapel were built first, then the church, on an oval design, white with very few decorations. The facade was begun in 1669, two years after the death of Borromini, according to his designs. It shows a play of concave and convex surfaces that defies traditional style.

Santa Cecilia inTrastevere (Piazza di Santa Cecilia)
The church was constructed between 817 and 824, on the site of an earlier fifth century building. It has a vast courtyard and garden in front. The facade by Ferdinando Fuga is eighteenth century in style, with a beautiful medieval doorway and a twelfth-century belltower. Inside there are three naves and the famous statue of Saint Cecilia, created in the seventeenth century by Stefano Maderno. Upon the altar stands a gothic tabernacle by Arnolfo di Cambio.

San Clemente (via di San Giovanni in Laterano)
Constructed between 1110 and 1130 over an earlier Roman building, this church has belonged to the Domenican order since 1677. The upper church, with three naves, has a beautiful floor paved with marble inlay from the twelfth century. The middle nave has an eighteenth-century panelled ceiling with a central fresco. In the apse there is a magnificent mosaic from the twelfth century representing the Triumph of the Cross. From the sacristy one descends to the lower church, which conserves interesting frescoes from the sixth and twelfth centuries.

Santa Costanza (via Nomentana)
A splendid paleo-Christian church situated near the basilica of Sant' Agnese, this was originally a mausoleum built in the fourth century for Costanza, son of Constantine. It was subsequently transformed into a baptistry and then into a church towards the middle of the second century. One can still admire the original construction with its dome and columns. The colonnade is surrounded by a circular gallery whose walls are decorated with splendid fourth-century mosaics. In the church the precious sarcophagus of Constantine, in pink porphyry, was found. It is now in the Vatican Museum.

San Giovanni in Laterano (Piazza San Giovanni in Laterano)
San Giovanni in Laterano is the Roman cathedral. The Pope is its bishop. It was built according to the desires of the pontefex Melchiade in the fourth century on a piece of land belonging to the Planzi Laterani family. It was first consecrated to Christ the Redeemer and only later to Saint John the Baptist and Saint John the Evangelist. Often damaged by earthquakes and fires, it has repeatedly been rebuilt and embellished. Of special note is the intervention of Borromini, who in 1650 completely renovated it for the Giubilee, according to the wishes of Innocent X. The eighteenth-century facade, including the doorway with its five entrances to the basilica, is by the architect Alessandro Galilei. The inside, with five naves, is richly decorated by Borromini. There are thirteenth-century tombs and mosaics, a thirteenth-century gothic tabernacle and precious frescoes. The adjacent cloister, decorated by a pair of mosaic columns, is the work of Jacopo and Pietro Vassalletto. The Baptistry is also interesting. It was built for Constantine, then rebuilt in the fifth century and completely redesigned in 1637. It has an eight-sided plan and a barrier in the center composed of two lines of columns that hold up the dome. The baptismal font is in green basalt, while its seventeenth century cover is in gold-plated bronze.

Santi Giovanni and Paolo (Clivo di Scauro, near via S. Gregorio)
A fourth-century basilica built on the site of the house belonging to Giovanni and Paolo. These were officials of Constantine, condemned to death in 362 by order of Giuliano the Apostata and buried under their house. The church was devastated by the Goths, damaged by the earthquake of 442, and sacked by Roberto il Guiscardo in 1084. It was rebuilt towards the mid-twelfth century. The interior was rebuilt in the eighteenth century. The facade, decorated with third-century columns, is the oldest part of the church.

Sant' Ivo (Corso del Rinascimento)
Begun in 1642 and finished in 1660, this is one of Borromini's masterpieces, along with San Carlo alle Quattro Fontae. The church has an original hexagonal form, with corners alternatively rounded or pointed. From the outside one notes the dome with its curious spiral lantern. The church is situated to the east of the Sapienza Palace, behind a beautiful courtyard decorated by arches, the work of Giacomo della Porta.

San Lorenzo fuori le Mura (Piazzale di San Lorenzo)
This primitive basilica was erected in 330 by Constantine at the burial place of San Lorenzo. Later, behind this one, Sesto III had a second church built, and dedicated it to the Virgin between 432 and 440. In the twelfth century the apses were built and the two building were united; with a doorway and a Roman belltower added. Often redesigned, the church was damaged by the bombings of 1943 and restored once more in 1949.

San Luigi dei Francesi (Piazza di San Luigi dei Francesi)
San Luigi is the French national church in Rome. It was built and rebuilt in the sixteenth century, finally being completed by Fontana. The Renaissance facade attributed to Giacomo della Porta has recently been restored. Inside there are three late fifteenth-century masterpieces by Caravaggio: the Vocation of Saint Mathew, Saint Mathew and the Angel, The Martyrdom of Saint Mathew.

Santa Maria in Aracoeli (Piazza d' Aracoeli)
This church, built in the seventh century, belonged to the Benedictines and then to the Frati Minori, who rebuilt it at the beginning of the 1300s. One enters via a beautiful marble stairway built in 1348. The interior, with three naves divided by classical columns, has an interesting thirteenth-century floor in the "Cosmati" style, a beautiful Renaissance ceiling and precious frescoes.

Santa Maria in Cosmedin (Piazza Bocca della Veritą)
It's one of the most beautiful medieval churches in Rome, built in the sixth century next to a building of which some columns remain. It was enlarged according to the wishes of Hadrian I and donated to the Greek colony of Rome. "Cosmedin" in Greek means ornament and could refer to the decorative work carried out under Hadrian. Within, divided into three naves, the works in the "Cosmati" style are admirable: the mosaic pavement, the wooden pulpits, the tabernacle of the largest altar, the chorus, the Easter candelabra, the episcopal cathedral, and the tomb of Alfano.

Santa Maria in Dominica (via della Navicella)
Built in the sixth century on the remains of a Roman building, it was rebuilt in the ninth century. Even though it was restored in the sixteenth century and nineteenth century, it has preserved its medieval character. Its name derives from a deformation of "dominicum," a term used by the first Christians to indicate a holy place. The beautiful Renaissance facade with its elegant doorway is by Andrea Sansovino. The inside, with three naves separated by antique granite columns, houses magnificent ninth-century mosaics, which decorate the apse.

Santa Maria Maggiore (Piazza di Santa Maria Maggiore)
This is one of the four patriarchal basilicas of Rome, situated to the north of the Esquilino. Built at the request of Sisto II in 432 and enhanced by a new apse in the thirteenth century, it was given a tall belltower in the fourteenth century. The eighteenth century facade, with its doorway and loggia, is the work of Ferdinando Fuga. Inside, the central nave is as long as it is wide, and is divided into lateral naves of 40 columns, 36 in marble and 4 in granite. The "Cosmati" floor is the reconstruction of a twelfth-century original. The mosaics and the panelled ceiling are interesting.

Santa Maria sopra Minerva (Piazza della Minerva)
The church was built in the seventh century on the ruins of a temple dedicated to Minerva. It was rebuilt in Gothic form in 1280. Redesigned many times, it gives testimony to many periods: the seventeenth century facade opens onto ninth-century marble doorways; the gothic interior with three naves was restored in the last century. Some of its twenty chapels are decorated by precious works of arts.

Santa Maria della Pace (vicolo della Pace)
Is a small Renaissance church built in the fifteenth century according to the plan of Baccio Pontelli and restored according to the request of Alexander VII by Pietro da Cortona, who in 1656-57 made the baroque facade with its semicircular atrium. The interior is composed of a rectangular nave that ends in an octangonal space surmounted by a dome. In the first chapel on the right one can admire the celebrated Sibyls of Raphael, painted in 1514. The main altar, a seventeenth-century work by Maderno, is surmounted by the Madonna of Peace, from the fifteenth century. Especially interesting is the cloister of Bramante, planned at the beginning of the sixteenth century.

Santa Maria del Popolo (Piazza del Popolo)
Built to celebrate the liberation of the Holy Sepulcre in the first crusade, was reconstructed in Renaissance form in the fifteenth century, according to the wishes of Sixtus IV. The facade is the work of Andrea Bregno while the luminous and spacious interior was planned by Bernini, following baroque outlines. Inside are three naves, rich in artistic treasures: frescoes by Pintorecchio, tombs of the cardinals Cristoforo and Domenico della Rovere, works by Andrea Pregno, decorations by Carlo Fontana, painted panels from the thirteenth century and two paintings by Caravaggio.

Santa Maria in Trastevere (Piazza di Santa Maria in Trastevere)
A basilica dating to the fourth century, it was rebuilt according to the wishes of Innocent II in 1130, with the addition of a Roman belltower. On the front one can see a twelfth-century mosaic of the Madonna enthroned with Child. The doorway from 1702 is the work of Carlo Fontana. The interior, with three naves, presents a floor in the "Cosmati" style and a panelled ceiling by Domenichino. Particularly interesting are the thirteenth-century mosaics of the apse, by Pietro Cavallini.

Santa Maria della Vittoria (via XX Settembre)
This church was built in the seventeenth century by Carlo Maderno, at the request of Cardinal Scipione Borghese. The baroque facade was added later by Giovanni Battista Soria. The inside, a single nave, is rich in baroque decorations. Particularly interesting is the Cornaro Chapel by Bernini, commissioned by the Venetian Cardinal Cornaro after he took residence in Rome in 1664.

San Paolo fuori le Mura (via Ostiense)
San Paolo fuori le Mura is one of the four patriarchal basilicas of Rome, built at the request of Constantine in 314 and later enlarged. In 1823, after being almost completely destroyed by fire, it was rebuilt by the architect Poletti and finished in 1854. The facade, decorated with elaborate mosaics, is preceeded by a doorway in four sections, formed by 146 columns. The interior, with five naves, is rich in mosaics of byzantine inspiration. Particularly interesting is the Easter candelabra, the tabernacle above the Altar of San Paolo (1285, by Arnolfo di Cambio), and the thirteenth-century chapel by Pietro Vassalletto.

San Pietro in Montorio (via Garibaldi)
Was built in the ninth century at the place where Saint Peter was supposedly crucified (probably in the Circus of Nero at the foot of the Vatican hill), and was rebuilt at the end of the fifteenth century. Inside, a single nave with polygonal apse is decorated by precious frescoes and paintings. In the courtyard to the right of the church rises the celebrated Tempietto by Bramante, a circular building with dome, enclosed by 16 granite columns. Built in 1502, it is considered one of the masterpieces of the Renaissance.

San Pietro in Vaticano (Piazza San Pietro)
The basilica originally was built in 324 at the request of Constantine on the site of the tomb of the Apostle. For more than a thousand years it was the center of Cristiandom, until in 1452 Nicolos V decided to have it rebuilt. This rebuilding, however, was was not begun until 1506, under Julius II. He gave the task to Bramante, who made a plan in the form of a Greek-cross with a large central vault and four small domes. In 1514, the year of Bramante's death, the four large central pillars and the large arches supporting the vault were finished. The work continued under the direction of Antonio da Sangallo, until in 1546 Michaelangelo took over and created a basilica in the shape of the Greek cross, with a grandiose and imposing appearance, conceptualizing a new dome that would constitute the dominant element of the entire structure. At the death of Michaelangelo in 1564, Giacomo della Porta followed the plans of the master. In 1605 Paolo V wanted to transform the plan of the Greek cross to a Latin cross. He assigned the task to Carlo Maderno, who prolonged the nave so that it reached what is now Saint Peter's Square, adding three chapels per side and finally erecting the facade.
The 18th of November 1626, the immense basilicia was consecrated by Urban VIII. Bernini was assigned the task of continuing the work. The impressive baroque decorations inside are due to him. In the first chapel on the right one finds the incomparable marble group of the Pietą, done by Michaelangelo when he was still young. At the far end of the nave is the statue of Saint Peter in bronze by Arnolfo di Cambio. The main altar is dominated by the celebrated drapery of Bernini. From the left nave one enters the area of the Treasures of Saint Peter. The Museum of Art History includes objects of great value saved from the Saracen invasions, the Sack of Rome and the Napoleonic assaults. One can even climb up to the dome or descend into the caves of the Vatican.

San Pietro in Vincoli (Piazza di San Pietro in Vincoli)
Built in the fifth century at the request of the Empress Eudossia, who wanted to keep custody of the chains that Saint Peter bore during his imprisonment in Jerusalem, the church was rebuilt under Hadrian I, in about 780. The doorway was added in the sixteenth century. At the beginning of the eighteenth century, Francesco Fontana had ionic bases added onto the 20 antique doric columns of the nave. The interior, with three naves, holds the mausoleum of Julius II, built by Michaelangelo under commission to the pope. At the center of the monument is Moses holding the tables of the Ten Commandments, an imposing bearded figure of great power and sensitivity.

Santa Prassede (via Santa Prassede)
This basilica, built in 822 at the request of Pasquale I, has been reconstructed many times. The interior, with three naves, presents a beautiful floor in the "Cosmati" style and is rich in ninth-century byzantine mosaics. The byzantine influence is noticeable also in the Chapel of San Zenone, built as a mausoleum for Teodora, mother of Pasquale I. Two columns in black granite surround the entrance and support a beautiful cornice. The walls and vaulted ceiling are entirely decorated with golden mosaics. For this reason they have received the name "garden of Paradise."

Santa Sabina (via di Santa Sabina)
Was built on the summit of the Aventino Hill in the fifth century, where there stood a house belonging to a woman named Sabina. Her name was soon confused with that of the saint. This is a typical example of an ancient Christian basilica. Works of restauration and decoration were carried out in 824 and in 1216. Finally Domenico Fontana reconstructed the interior in 1587. The splendid external doors decorated with scenes of the Old and New Testament date back to the fifth century. The interior, with three naves, is illuminated by magnificent ninth-century windows. Dating from the same period are the wooden pulpits, the episcopal throne and the choir section (scuola cantorum). The mosaics that decorated the apse have unfortunately disappeared, but the fresco of Taddeo Zuccaro, from 1560, reproduces the theme.

Santo Stefano Rotondo (via di Santo Stefano Rotondo)
This was built at the end of the fifth century on a circular plan, an exact copy of the church of the Holy Sepulcre at Jerusalem. The entrance is through a doorway with five arches, added in the twelfth century by Innocent II. The interior is made up of a central space surrounded by two concentric naves separated by majestic columns. The dome to the right is decorated with a seventh-century mosaic that presents Christ between two saints with a cross in the background. Particularly interesting are the 34 frescoes illustrating the tortures undergone by Christian martyrs during their persecutions.