What Happens to the Coins Tossed into Rome’s Trevi Fountain? 

Catholic charity Caritas employee Fabrizio Marchioni, 52, dries coins collected at the Trevi Fountain, at the Caritas office in Rome, Italy, February 26, 2024. (Reuters)
Catholic charity Caritas employee Fabrizio Marchioni, 52, dries coins collected at the Trevi Fountain, at the Caritas office in Rome, Italy, February 26, 2024. (Reuters)
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What Happens to the Coins Tossed into Rome’s Trevi Fountain? 

Catholic charity Caritas employee Fabrizio Marchioni, 52, dries coins collected at the Trevi Fountain, at the Caritas office in Rome, Italy, February 26, 2024. (Reuters)
Catholic charity Caritas employee Fabrizio Marchioni, 52, dries coins collected at the Trevi Fountain, at the Caritas office in Rome, Italy, February 26, 2024. (Reuters)

As visitors' coins splash into Rome's majestic Trevi Fountain carrying wishes for love, good health or a return to the Eternal City, they provide practical help to people the tourists will never meet.

For hundreds of years, when in Rome, visitors have flocked to the fountain to make a wish, following a storied ritual. Few gave their coins a second thought.

Today, coins pile up for several days before they are fished out and taken to the Rome division of the worldwide Catholic charity Caritas, which counts the bucketfuls of change and uses them to fund a food bank, soup kitchen and welfare projects.

In 2022 Caritas collected 1.4 million euros ($1.52 million) from the fountain and it expects to have gathered even more in 2023. Rome is one of the world's most visited cities with 21 million tourists.

Extracting the coins is a spectacle and involves workers from regional utility ACEA balancing on the edge of the vast Baroque fountain, using long brooms and suction hoses.

The coins are then given to Caritas, where they are dried with hairdryers and cutlery dryers and sorted and counted.

Signs around the fountain explain that the change will go to charity - a thought that pleases many of the tourists posing by the landmark.

"I wanted to make a wish which is dear to my heart," said Yula Cole from Brazil after throwing in a coin. "But I also know that this coin is not just staying there but will help needy people. I made a wish but hopefully this money will help other people's wishes too."

Day and night, throngs of people crowd around the fountain posing for photos. Legend says that if you throw a coin by the right hand over the left shoulder into the fountain, you will return to Rome. People eagerly add their own personal wishes.

"I am tossing a coin as they say if you toss a coin you come back to Rome and also because I want to make the wish to find love," said Carola from Chile.

The Trevi Fountain, completed in 1762, covers one side of Palazzo Poli in central Rome with its statues of Tritons guiding the shell chariot of the god Oceanus, illustrating the theme of the taming of the waters.

It is where Italian film director Federico Fellini set one of the most famous scenes in cinema in "La Dolce Vita", with Anita Ekberg wading into the fountain after midnight and beckoning Marcello Mastroianni to join her.

Wading into its waters today is forbidden and tourists face fines if they do.

Coin sorting

Twice a week, up to four workers collect the coins, said Francesco Prisco, a manager at ACEA. The fountain is drained for cleaning twice a month.

"The collection and cleaning operations are carried out as quickly as possible to try to reduce the downtime of the fountain," he said.

After the coins have been swept into a long line by a long-reach broom, they are sucked up by hoses and taken to Caritas' office, where employee Fabrizio Marchioni spreads them across a huge table for drying.

Not just coins are fished from the fountain. Workers have removed jewellery, dentures, religious medals, even umbilical cords.

Signs by the fountain warn not to steal the coins.

Over the decades the coins have been targeted, sometimes with magnets attached to a pole.

Close to Rome's main station is Caritas' supermarket, known as the Emporium, which allocates food to needy residents who can purchase it with tokens on a card.

"I was a blacksmith but then I lost my position and my arthritis does not help in finding a new job. Luckily there are places like this Emporium," said a man who gave his name only as Domenico.

Another man, Luigi, explained: "I was a builder and also the owner of a video surveillance system company before I lost my job. Places like this Emporium give concrete help."

Back at the fountain, the coins stack up.

"I got told that if I toss in two coins my wishes will come true. So that's why I did it," said Chinese tourist Yuting.



Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
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Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)

In a historic building in central Tripoli, Libyans wander past ancient statues and artifacts, rediscovering a heritage that transcends political divides at their national museum which reopened this month after a 2011 uprising.

"I got here barely 15 minutes ago but I already feel like I've been transported somewhere. It's a different world," said architecture student Nirmine Miladi, 22.

In the waterfront building known as the red citadel -- once the seat of power -- visitors journey through a history that includes ancient art, Greek and Roman antiquities and Ottoman-era weapons and jewellery.

Miladi's sister Aya, 26, an interior design student, said she liked the bright new museum's layout, "the careful lighting, the screens and interactive tools" that all help make the museum accessible to all.

Libya plunged into chaos after a NATO-backed uprising toppled and killed longtime leader Moammar al-Gadhafi in 2011, and the country has struggled to regain stability.

Since then, the North African country has been divided, with two rival executives vying for power: a Tripoli-based Government of National Unity and an administration based in Benghazi in the country's east.

Mohamed Fakroun, head of international cooperation at the antiquities department, said the museum went through "a dark period during its 14-year closure".

Fearing looting and vandalism after Gadhafi's overthrow, the antiquities department removed "all the artifacts until the country re-stabilized", said Fakroun, 63, who has worked at the French archaeological mission to Libya for almost four decades.

- 'National symbol' -

Curator Fathiya Abdallah Ahmad is among a handful of people who knew the location of secret, sealed rooms where the museum's treasures were taken into hiding for more than a decade.

She said the antiquities department and staff worked to "preserve a historic and cultural heritage that belongs to all Libyans".

This allowed the works to be safeguarded until the museum could reopen "in a modern format that conforms to international standards", she added.

The bright new facility includes digital projections and interactive screens as well as videos, audio guides and QR codes enabling visitors to delve further.

Fakroun noted the museum has a room dedicated to Roman emperor Septimius Severus, who was born in the ancient city of Leptis Magna -- now a UNESCO World Heritage site east of Tripoli.

Another room is dedicated to stolen items that have since been returned, including from the United States and the United Kingdom, he added.

Interior design student Aya Miladi said many Libyans saw the museum's inauguration as the "return of a national symbol".

It is also "a step towards reconciliation between Libyans and with their often little-known past", after years of war, as well as a sign of stability, she added.

- 'Not without past' -

Teacher Fatima al-Faqi, 48, said there was "a world of difference" between the reopened museum and the dark, dusty facility she visited 30 years ago on a school trip.

This time, she was leading a group of high-school students to help them "discover Libya's history and nourish their sense of patriotism", she said, as pupils goggled at items from Roman statues to stuffed animals in the natural history section.

The Tripoli government has invested more than five million dollars in rehabilitating the museum and its surrounding area, despite the oil-rich country's economic woes including frequent cash and fuel shortages.

Fakroun said the six-year renovations were carried out in cooperation with the French mission and the ALIPH foundation -- the International Alliance for the Protection of Heritage.

The museum seeks to convey a hope-filled message about Libya's identity to its visitors, most of whom "were not born when it was last open before 2011", he added.

Visitor Sarah al-Motamid, 34, said that "many people don't know about our country's ancient history and look at us as if we were worthless".

She said she was visiting with her six-year-old daughter Mariam because she wanted her to "understand that we are not without a past or civilization".


Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
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Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA

The cultural camp is a key feature of the 10th King Abdulaziz Camel Festival, held in Al-Sayahid desert. The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity, according to SPA.

It offers a range of programs, including live performances and interactive events, that highlight camels' historical significance in Arab culture and illustrate the values of patience, strength, and belonging.

The camp has attracted over 2,000 guests from 71 nationalities, emphasizing its global appeal as a cultural platform for diversity and tradition.

Visitors engage with cultural content through innovative methods that merge authenticity with modern technology, enhancing awareness of the camel's cultural legacy. This initiative aligns with Saudi Vision 2030 by preserving heritage and connecting younger generations with their roots.


Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
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Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA

Under the Royal Commission for Riyadh City and Riyadh Art, Tuwaiq Sculpture has announced the selection of 25 artists for the seventh edition of the annual sculpture symposium and exhibition, taking place from January 10 to February 22, 2026.

This year’s edition unfolds under the curatorial theme “Traces of What Will Be,” inviting artists to reflect on how sculptural form can express the physical, cultural and conceptual traces that shape the future of cities and communities, SPA reported.

A total of 25 artists from 18 countries, including Saudi artists, have been selected for the seventh edition. Their proposals reflect a diverse range of artistic approaches, responding to the theme through explorations of transformation, place, and materiality.

Director of the Tuwaiq Sculpture Symposium Sarah Alruwayti said: "The seventh edition of Tuwaiq Sculpture received more than 590 applications, reflecting the cultural diversity and global interest in the symposium. The selection of the 25 participating artists was carried out by a jury of industry experts and specialists. Their proposals show meaningful engagement with the theme and reflect the strength and diversity of contemporary sculptural practice. We look forward to welcoming them to Riyadh for the creation of new works that will become lasting additions to the city.”

Building on the evolving material practice of the symposium, Tuwaiq Sculpture 2026 introduces two sculpting categories: granite with optional stainless-steel integration and reclaimed metal. Twenty artists will work in granite, while five will create new works in reclaimed metal. Over four weeks, they will produce large-scale sculptures that will later be added to Riyadh Art’s permanent public art collection.

The 2026 edition features a month-long live sculpting phase alongside a community engagement program, inviting visitors to witness the creation of artworks and take part in panel discussions and workshops. The symposium will conclude with a public exhibition showcasing the completed sculptures from its seventh edition.