The remains of the Domus Tiberiana lie on the northwest corner of the Palatine, facing the Velabrum and the Roman Forum below, with the Capitoline hill beyond. The site comprises an area of approximately 150 metres by 120 metres (492 x 394 feet),[4] and is occupied by the platform of the Farnese Gardens, which were constructed in 1550 by Cardinal Alessandro Farnese. The visible remains are those of the imposing arcaded support structures on the northern slope of the hill, built under Domitian, Trajan and Hadrian.[5] On the level of the Forum the ruins of a vestibule complex, begun by Domitian and completed by Hadrian, lie behind the Temple of Castor and Pollux. From here there was an access ramp which led up the slope of the hill to the Domus Tiberiana on the summit.

The core of the Tiberiana was oriented around a large peristyle with arcades surrounding it on four sides. A double block of rooms separated by a broad corridor was built south of this peristyle, and another block of rooms stood to the north. Along the east side of the Tiberiana is a 130 meter (427 foot) long cryptoporticus from the time of Nero, with mosaic floors and poorly preserved frescoes. This cryptoporticus was connected to the Flavian Palace when it was built. In the southeast corner of the palace, close to the Domus Livia, are the remains of an elliptical basin probably used as a fish pond. On the southwest front is a portico fronting a series of rooms, which are believed to have housed the Praetorian Guard based on the graffiti found in them.

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Built in the second half of the 1st century AD, the Ramp connected the Roman Forum, the political and administrative center of the city, with the center of power, the Imperial Palace. It constituted a true ascent to the emperor's residence.

he Ramp unfolded along seven climbs and six hairpin bends, which rose up to 35 meters (equal to over 10 floors). Of the seven original climbs, four remain, now accessible to the public with a route that ends with a wonderful view of the Roman Forum.

Hidden by the baroque church of Santa Maria Liberatrice, part of the Ramp came to light during Giacomo Boni's excavations at the beginning of the last century, together with the church of Santa Maria Antiqua and the entire complex of structures that were around and close to the slope of the Palatine hill. Boni decided to consolidate both the walls of the Ramp and to rebuild the collapsed vaults, in order to make the complex of containment structures functional again.

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Santa Maria Antiqua (English: Ancient Church of Saint Mary) is a Catholic Marian church in Rome, Italy, built in the 5th century in the Forum Romanum, and for a long time the monumental access to the Palatine imperial palaces.

Located at the foot of the Palatine Hill, Santa Maria Antiqua is the oldest Christian monument in the Roman Forum. The church contains the earliest Roman depiction of Santa Maria Regina, the Virgin Mary as a Queen, from the 6th century.

Pope John VII used this church in the early 8th century as the seat of the bishop of Rome.

The heavily layered walls of Santa Maria Antiqua host numerous frescoes of varying artistic style and adaption during its time of intense decoration from the sixth to the ninth century.[9] Each alcove, wall and altar can be attributed to different times and trends of style representative of its artists and patrons, including the Popes Martin I (649-653), John VII (705-707), Zachary (741-752) and Paul I (757-767). The amount of erosion and destruction makes obtaining an accurate record of the styles difficult. Using the fragments of the frescoes, archaeologists and historians have assembled a rough chronology of the decorations. Historians who study Santa Maria Antiqua often rely on contemporary churches to help create a chronology of styles and influences: in the case of Santa Maria Antiqua, this is less successful due to the fact that no other church from Late Antiquity has quite the same collection and evolution of styles through this time. The change of style at Santa Maria Antiqua is recognized through its layering of trends and styles.

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