羅馬風景介紹英語怎麼說
① 短文介紹了羅馬城的哪些景觀
你好：
一下就是羅馬城最出名的景點，每個景點都給你羅列好了；
1）EUR區
② 羅馬最著名的景點是羅馬競技場它是由用英文怎麼說
The most famous scenic spot in Rome is the Rome arena.
羅馬最著名的景點是羅馬競技場它是由
③ 羅馬有哪些旅遊景點 羅馬旅遊景點介紹
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
羅馬最吸引游回客的景點，斷壁殘垣依然能夠答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。
④ 英語怎麼說 大部分羅馬的旅遊景點都在維
翻譯如下：
大部分羅馬的旅遊景點都在維修
Most of the tourist attractions in Rome are in service
⑤ 跪求大神，寫一篇關於介紹英國巴斯的英文稿子，詳細介紹一些著名景點，比如羅馬浴池，圓形廣場，埃文河.
去下載一個翻譯
⑥ 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
⑦ 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.
⑧ 翻譯：就名勝古跡而言，羅馬是世界聞名的（il terms of）
羅馬（義大利：羅馬）是義大利的首都，也是該國的政治，經濟，文化，交通世專界著名的歷史文屬化名城的中心，羅馬帝國的發祥地，由於城市的歷史建築被戲稱為「永恆之城
古建築（如弗拉維安圓形劇場，斗獸場斗獸場，大雜技場，潘提翁神廟）
羅馬古城酷似一座巨型的露天博物館在古城的廢墟羅馬，矗立著帝國元老院，凱旋門，紀功柱，萬神殿和羅馬斗獸場，世界著名的古跡
萬神殿的主要景點 - 公元前27年的建設，公元120重建萬神殿（神殿）
，被米開朗基羅贊嘆為「天使的設計」
斗獸場 - 建於公元前80年，雄偉的競技場典型的公共建築之一羅馬建築和最偉大的成就的基本結構可以在這里看到
⑨ 羅馬有什麼景點介紹一下它的歷史
羅馬，義大利的首都，位於台伯河下游平原，是義大利政治、歷史和文化和和交通中心，同時也是古羅馬和世界燦爛文化的發祥地，已有2500餘年歷史。它是一座藝術寶庫、文化名城，也是羅馬天主教廷所在地。是義大利佔地面積最廣、人口最多的城市，也是世界最著名的游覽地之一。
羅馬斗獸場，亦譯作羅馬大角斗場、羅馬競技場、羅馬圓形競技場、科洛西姆、哥羅塞姆，原名弗萊文圓形劇場（Amphitheatrum Flavium），建於公元72至82年間，是古羅馬文明的象徵。遺址位於義大利首都羅馬市中心，它在威尼斯廣場的南面，古羅馬市場附近。從外觀上看，它呈正圓形；俯瞰時，它是橢圓形的。它的佔地面積約2萬平方米，最大直徑為188米，小直徑為156米，圓周長527米，圍牆高57米，這座龐大的建築可以容納近九萬人數的觀眾。
羅馬斗獸場，亦譯作羅馬大角斗場、羅馬競技場、羅馬圓形競技場、科洛西姆、哥羅塞姆，原名弗萊文圓形劇場（Amphitheatrum Flavium），建於公元72至82年間，是古羅馬文明的象徵。遺址位於義大利首都羅馬市中心，它在威尼斯廣場的南面，古羅馬市場附近。從外觀上看，它呈正圓形；俯瞰時，它是橢圓形的。它的佔地面積約2萬平方米，最大直徑為188米，小直徑為156米，圓周長527米，圍牆高57米，這座龐大的建築可以容納近九萬人數的觀眾。
西斯廷教堂始建於1445年，由教皇西斯都四世發起創建，教堂的名字「西斯廷」便是來源於當時的教皇之名「西斯都」。教堂長40.25米，寬13.41米，高20.73米。是依照《列王紀》第6章中所描述的所羅門王神殿，按照比例(60:20:30)所建。西斯廷教堂是羅馬教皇的私用經堂，也是教皇的選出儀式的舉行之處。
米開朗基羅·博那羅蒂(Michelangelo Buonarroti, 1475－1564)，義大利文藝復興時期偉大的繪畫家、雕塑家、建築師和詩人，文藝復興時期雕塑藝術最高峰的代表。與拉斐爾和達芬奇並稱為文藝復興後三傑。
羅馬，義大利的首都，位於台伯河下游平原，是義大利政治、歷史和文化和和交通中心，同時也是古羅馬和世界燦爛文化的發祥地，已有2500餘年歷史。它是一座藝術寶庫、文化名城，也是羅馬天主教廷所在地。是義大利佔地面積最廣、人口最多的城市，也是世界最著名的游覽地之一。另有，義大利著名足球俱樂部「羅馬」、同名美國電視劇《羅馬》和貴州省文史研究館館員羅馬。
真理之口(Bocca della verità) 是一人形面孔，有鼻有眼，張著一張大嘴。相傳，若誰不說真話，它就會咬住他的手。到這里觀光的旅客，紛紛將手伸進嘴中試一試自己的手會不會被咬。由於千千萬萬只手在真理之口中伸來伸去，這張大嘴已被人們的手指磨得鋥亮。
羅馬斗獸場由弗拉維安王朝的三個皇帝建造，它正式的名字是弗拉維安競技常它的建造是這個新王朝的家族為提高自身在公眾中的地位而發起的一系列運動的一部分。韋斯帕西恩（公元69—79年）是這個王朝的締造者，他的出身並不高貴；在尼祿自殺後的一年中，羅馬又經歷了三個短命皇帝的失敗的統治，韋斯帕西恩隨後坐上了皇位。那時尼祿並未被遺忘；他所吞噬的廣袤的土地和其他的奢侈物已經激起民憤。因此，當韋斯帕西恩決定填平那屬於尼祿的豪華金色宮殿的人工湖．將其變成公共娛樂場所的時候，幾乎沒有任何人提出異議。
君士坦丁凱旋門建於315年，是為了紀念君士坦丁大帝擊敗馬克森提皇帝統一羅馬帝國而建的。凱旋門上方的浮雕板是當時從羅馬其它建築上直接取來的，主要內容為歷代皇帝的生平業績，如安東尼、哈德連等，下面則是君士坦丁大帝的戰斗場景。所以君士坦丁凱旋門雖然是羅馬三座凱旋門中建造最晚的一座，但仍然可以看出早期羅馬藝術的影子，而且保存比較完好，值得一看。這是一座三個拱門的凱旋門，高21米，面闊25.7米，進深7.4米。由於它調整了高與闊的比例，橫跨在道路中央，顯得形體巨大。凱旋門的里里外外充滿了各種浮雕，表面上看去，巨大的凱旋門和豐富的浮雕雖然氣派很大，但缺乏整體觀念。原因是凱旋門的各個部分並非作為一個統一體而創作的，甚至其中的大部分構件是從過去的一些紀念性建築，如圖拉真廣場建築上的橫飾帶、哈德良廣場上一系列盾形浮雕以及馬克·奧爾略皇帝紀念碑上的八塊鑲板，拆除過來的。盡管如此，它仍不失為一座宏偉壯觀的凱旋門，尤其是它上面所保存的羅馬帝國各個重要時期的雕刻，是一部生動的羅馬雕刻史。
作為教皇所在地和基督教的精神中心，梵蒂岡是羅馬市內的一個真正的國家 (教皇為元首)，它被教科文組織宣布為人類文化遺產，是一個非凡的藝術寶庫。絕不可錯過的有聖比得廣場，世界上最大的廣場之一，貝尼尼的建築傑作，他在 1656至1667年間用284根和88根的雙排柱圍成了宏大的橢圓形廣場。在廣場上有被認為是世界上最漂亮、雄偉的聖比得教堂。在施工中擔任指揮的有最重要的大師布拉曼特、拉斐爾和米開朗琪羅，後者實現了高達119米的教堂大圓頂。不可不看的還有梵蒂岡博物館，特別是西斯廷廳，那是整個藝術史的最高層次的傑作之一；文藝復興時期的幾位義大利大師都為其繪畫：波提切利、基爾蘭達佑和米開朗琪羅，後者畫了天花板上的壁畫。最突出的是米開朗琪羅的最高傑作「最後的審判」。
⑩ 求義大利以下旅遊景點的英文簡介，急用，謝謝~~~~~~~~
威尼斯: Venezia
聖馬可廣場:Piazza San Marco
龐貝古城:Pompei
佛羅倫薩: Firenze
米蘭市: Milano
米蘭大教堂: Duomo di Milano
羅馬市: Roma
羅馬斗版獸場: Colosseo
義大利的民俗權: Dogana italiana