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The Piazza Navona

2. The Fountains in the Navona

In the centre stands the famous Fontana dei Quattro Fiumi or Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini, topped by the Obelisk of Domitian, brought here in pieces from the Circus Maximus. (See my page on “Obelisks in Rome”) The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, an ancient Egyptian obelisk surmounted with the Pamphilj family emblem of a dove with an olive twig. Just below the emblem there are some newly (17th century) added Egyptian hieroglyphs that essentially say ‘the pope is great’.

 

The four major sculptures of the base represent four major rivers of the four continents through which papal authority had spread: the Nile representing Africa, the Danube representing Europe, the Ganges representing Asia, and the Río de la Plata representing the Americas. Each has animals and plants that further identify the region, and each carries a number of allegories and metaphors with it. The Ganges carries a long oar, representing the river's navigability. The Nile's head is draped with a loose piece of cloth, meaning that no one at that time knew exactly where the Nile's source was.

 

The Danube touches the Pope's personal coat of arms, since it is the river closest to Rome, and the Río de la Plata is sitting on a pile of coins, a symbol of the riches America could offer to Europe (plata meaning silver in Spanish). Also, the Río de la Plata looks scared by a snake, showing rich men's fear that their money could be stolen. Each is a river god, semi-prostrate, in awe of the central tower, epitomized by the slender Egyptian obelisk symbolizing Papal power, surmounted by the Pamphilj symbol. (See more detail on the design and composition of the figures below.)

 

There is a story that, when Pope Innocent X (the head of the Pamphilj family) decided that there was to be a major fountain commissioned for the centre of the Navona, the two great architectural rivals Borromini and Bernini both desperately wanted the job. At the time, the Pope was decidedly in favour of Borromini.  Bernini was indeed desperate… he had what he believed to be a wonderful design in mind and was convinced his was right for the location. The Pope soon got very tired of Bernini’s persistent applications and banned him from his presence. Not to be thwarted, Bernini made a silver model of his fountain and had it placed in the foyer of the Palazzo Pamphilj at the southern end of the Piazza. When next the Pope entered the Palazzo he could not avoid seeing the model… he was immediately won over and commissioned the fountain then and there.

 

Many tour guides will tell you that the fountain has the figure of the Río de la Plata recoiling in horror at the Borromini designed Church of Saint Agnes in Agone, with his hand shielding his eyes from the sight of the new style Baroque exterior of the church. None of the four figures actually face the church. This unfortunately cannot be true, as construction of the church did not commence until 1652, one year after the fountain was completed. However, this does not discount the idea that Bernini had the fountain placed several metres to the right of where the main entrance of the church would be, therefore spoiling the symmetry of any future design.

 

Piazza Navona has two other fountains. At the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta (1575) to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin.

 

At the northern end is the Fountain of Neptune (1574), also created by Giacomo della Porta. The statue of Neptune in this fountain, the work of Antonio Della Bitta, was added in 1878 to make that fountain more symmetrical with the Fontana del Moro in the south end.

 

More detail (too much?) on the Fontana dei Quattro Fiumi...

 

GangesThe Ganges River flows through India, so the figure represents Asia. He is depicted with an oar representing the navigability of the waters. He is also accompanied by a palm tree and a serpent.

 

NileThe Nile River represents Africa and his shrouded head signifies that the source of the river was unknown at the time. He is also depicted with a lion beside him.

 

Rio de la PlataThe Rio de la Plata, which flows between Argentina and Uruguay, represents America. He has a bag of coins spilling out beneath him, representing the riches of the New World. He is also shown with an armadillo, which was believed to be native to the area. However, its ridiculous appearance reveals how little was actually known of the New World.

 

DanubeThe Danube, which flows from Germany through present-day Austria and Romania and empties into the Black sea, was chosen to represent Europe. He is accompanied by a horse.

 

If the obelisk is representative of divine light, then the poses of the figures can be reconsidered in reference to the Catholic Church. The Nile (with his shrouded head) and the Ganges (who is looking indifferently at spectators and across the Piazza) are both oblivious to the symbolic light of the obelisk. The Rio de la Plata acknowledges it, but raises his arm to shield himself from the blinding light. He is also shielding himself from the Pamphilj coat of arms, which hangs next to him. The Danube, however, faces the obelisk and Pamphilj coat of arms, and raises both of his arms in acknowledgment. This picture presents the concept of the authority of the Church over the four continents. The propagandistic message of this design asserts the supremacy of the papacy at a time of political unrest. This is exemplified by Bernini’s choice of the Danube to represent Catholic Europe, instead of the more apparent choice of the Tiber.

 

The choice by Bernini is justified when considering the current events of the time. The area surrounding the Danube River was hardly a stronghold of the Catholic Church. Instead, there was a strong Protestant presence in the area. While this fountain was being designed, it was reaching the end of the Thirty Years War, which took place between the Protestants and the Catholics. After Urban VIII’s death in 1644, the Church was looking to elect a pope that would restore peace and reinstate Catholicism in the area of the Austrian monarchy. When the war ended with the Treaty of Westphalia in 1648, the Church lost certain districts, but gained Austria and Bohemia under the direct jurisdiction of the Church. This ultimately resulted in the collapse of a Protestant stronghold. Therefore, having the figure of the Danube holding the papal crest implies the submission of the area to the Church under Innocent X’s rule.

 

The choice of the Ganges and the Rio de la Plata to represent Asia and America, respectively, is also interesting. These two rivers were centers of Pope Innocent X’s missionary activity, with the Ganges being a stronghold of Catholic missions in Asia and the Rio de la Plata running through Jesuit establishments in the New World.

 

Bernini, in his design, was deliberately appealing to Innocent X’s political ambitions. The design of the fountain was politically flattering for Innocent X. Bernini intentionally ventured away from traditional ideas in order to more completely meet Innocent X’s political aspirations. For example, the figure of the Nile River is typically paired with the Tiber River, as is the case with the figures at the Campidolgio. The use of the Danube to represent Catholic Europe, therefore, was innovative at the time. Bernini also caters to Innocent X by including the horse next to the Danube. The horse is a symbol of military power, but it still ultimately placed underneath the Pamphilj symbol of the dove and olive branch, which also symbolize peace. This emphasized Innocent X’s role as peacemaker. In the design of the fountain, Bernini was also able to incorporate the four natural elements. Water is represented both symbolically, with the four figures, and literally, with the gushing water beneath the figures. Fire is represented as a ray of light by the obelisk and the rocky base of the fountain represents earth. Air is represented by the apparent movement of the palm tree in the wind and also the grotto-like space underneath the base.

 

Although the structure is innovative in numerous respects, Bernini still holds on to many of his traditional Baroque techniques. As with his earlier works, Bernini’s design exemplified the Baroque tradition of dynamic movement in his sculpture. Each of the figures, with perhaps the exception of the Ganges, appear as if in motion. The entire fountain must be circumnavigated in order for a viewer to see all of the parts, as if it’s meant to be experienced scene by scene. The structure itself creates an illusion of instability. Not only is the towering obelisk entirely free standing, but also the base is cut through completely on both axes. Bernini received much criticism and people doubted its stability, especially because of his previous failure at St. Peter’s. In retaliation, Bernini approached the monument and, amidst the large crowd that had gathered, proceeded to inspect the structure and then tied four pieces of twine to the tip of the obelisk and attached them to the surrounding buildings. He then stepped back, looked at his work approvingly, and then walked away, leaving the spectators astonished. Despite the doubts of his critics, Bernini’s fountain has remained completely stable and hasn’t moved an inch since its erection.

 

Although the design of the fountain was Bernini’s, he didn’t actually carve most of it. As was customary for successful artists in the seventeenth century, Bernini had his assistants carve most of the structure. The four marble figures were actually done by his assistants Raggi, Poussin, Baratta, and Fancelli. Still others were assigned to carve the travertine base and the bronze dove that tops the obelisk. Bernini is accredited with actually carving only the palm tree, the lion, and the horse.

 

Completed in 1651, the Fountain of Four Rivers has long been considered one of the greatest public works done by Bernini. When Innocent X was inspecting the fountain before it was unveiled, Bernini informed him that it wasn’t yet complete. Disappointed, Innocent X turned to leave. At that precise moment, Bernini signaled for the water to be turned on. Innocent X was so surprised and pleased with the work that he proclaimed that Bernini had added ten years to his life (he in fact died four years later). Surprisingly, Bernini himself was not proud of the piece. It is said that years later, when he was being driven past the fountain in his carriage, he was forced to close the curtain as he muttered, “How ashamed I am of having done such poor work.” Nevertheless, Bernini’s Fountain of Four Rivers warranted praise from both his patron and the public and continues to captivate viewers to this very day.

 

[REF: Katie Ho, UW Honors Program in Rome, 2008]

 

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The Piazza Navona

2. The Fountains in the Navona

In the centre stands the famous Fontana dei Quattro Fiumi or Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini, topped by the Obelisk of Domitian, brought here in pieces from the Circus Maximus. (See my page on “Obelisks in Rome”) The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, an ancient Egyptian obelisk surmounted with the Pamphilj family emblem of a dove with an olive twig. Just below the emblem there are some newly (17th. C.) added Egyptian hieroglyphs that essentially say ‘the pope is great’.

 

The four major sculptures of the base represent four major rivers of the four continents through which papal authority had spread: the Nile representing Africa, the Danube representing Europe, the Ganges representing Asia, and the Río de la Plata representing the Americas. Each has animals and plants that further identify the region, and each carries a number of allegories and metaphors with it. The Ganges carries a long oar, representing the river's navigability. The Nile's head is draped with a loose piece of cloth, meaning that no one at that time knew exactly where the Nile's source was.

 

The Danube touches the Pope's personal coat of arms, since it is the river closest to Rome, and the Río de la Plata is sitting on a pile of coins, a symbol of the riches America could offer to Europe (plata meaning silver in Spanish). Also, the Río de la Plata looks scared by a snake, showing rich men's fear that their money could be stolen. Each is a river god, semi-prostrate, in awe of the central tower, epitomized by the slender Egyptian obelisk symbolizing Papal power, surmounted by the Pamphilj symbol. (See more detail on the design and composition of the figures below.)

 

There is a story that, when Pope Innocent X (the head of the Pamphilj family) decided that there was to be a major fountain commissioned for the centre of the Navona, the two great architectural rivals Borromini and Bernini both desperately wanted the job. At the time, the Pope was decidedly in favour of Borromini.  Bernini was indeed desperate… he had what he believed to be a wonderful design in mind and was convinced his was right for the location. The Pope soon got very tired of Bernini’s persistent applications and banned him from his presence. Not to be thwarted, Bernini made a silver model of his fountain and had it placed in the foyer of the Palazzo Pamphilj at the southern end of the Piazza. When next the Pope entered the Palazzo he could not avoid seeing the model… he was immediately won over and commissioned the fountain then and there.

 

Many tour guides will tell you that the fountain has the figure of the Río de la Plata recoiling in horror at the Borromini designed Church of Saint Agnes in Agone, with his hand shielding his eyes from the sight of the new style Baroque exterior of the church. None of the four figures actually face the church. This unfortunately cannot be true, as construction of the church did not commence until 1652, one year after the fountain was completed. However, this does not discount the idea that Bernini had the fountain placed several metres to the right of where the main entrance of the church would be, therefore spoiling the symmetry of any future design.

 

Piazza Navona has two other fountains. At the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta (1575) to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin.

 

At the northern end is the Fountain of Neptune (1574), also created by Giacomo della Porta. The statue of Neptune in this fountain, the work of Antonio Della Bitta, was added in 1878 to make that fountain more symmetrical with the Fontana del Moro in the south end.

 

More detail (too much?) on the Fontana dei Quattro Fiumi...

 

GangesThe Ganges River flows through India, so the figure represents Asia. He is depicted with an oar representing the navigability of the waters. He is also accompanied by a palm tree and a serpent.

 

The Nile River represents Africa and his shrouded head signifies that the source of the river was unknown at the time. He is also depicted with a lion beside him.

 

Rio de la PlataThe Rio de la Plata, which flows between Argentina and Uruguay, represents America. He has a bag of coins spilling out beneath him, representing the riches of the New World. He is also shown with an armadillo, which was believed to be native to the area. However, its ridiculous appearance reveals how little was actually known of the New World.

 

DanubeThe Danube, which flows from Germany through present-day Austria and Romania and empties into the Black sea, was chosen to represent Europe. He is accompanied by a horse.

 

If the obelisk is representative of divine light, then the poses of the figures can be reconsidered in reference to the Catholic Church. The Nile (with his shrouded head) and the Ganges (who is looking indifferently at spectators and across the Piazza) are both oblivious to the symbolic light of the obelisk. The Rio de la Plata acknowledges it, but raises his arm to shield himself from the blinding light. He is also shielding himself from the Pamphilj coat of arms, which hangs next to him. The Danube, however, faces the obelisk and Pamphilj coat of arms, and raises both of his arms in acknowledgment. This picture presents the concept of the authority of the Church over the four continents. The propagandistic message of this design asserts the supremacy of the papacy at a time of political unrest. This is exemplified by Bernini’s choice of the Danube to represent Catholic Europe, instead of the more apparent choice of the Tiber.

 

The choice by Bernini is justified when considering the current events of the time. The area surrounding the Danube River was hardly a stronghold of the Catholic Church. Instead, there was a strong Protestant presence in the area. While this fountain was being designed, it was reaching the end of the Thirty Years War, which took place between the Protestants and the Catholics. After Urban VIII’s death in 1644, the Church was looking to elect a pope that would restore peace and reinstate Catholicism in the area of the Austrian monarchy. When the war ended with the Treaty of Westphalia in 1648, the Church lost certain districts, but gained Austria and Bohemia under the direct jurisdiction of the Church. This ultimately resulted in the collapse of a Protestant stronghold. Therefore, having the figure of the Danube holding the papal crest implies the submission of the area to the Church under Innocent X’s rule.

 

The choice of the Ganges and the Rio de la Plata to represent Asia and America, respectively, is also interesting. These two rivers were centers of Pope Innocent X’s missionary activity, with the Ganges being a stronghold of Catholic missions in Asia and the Rio de la Plata running through Jesuit establishments in the New World.

 

Bernini, in his design, was deliberately appealing to Innocent X’s political ambitions. The design of the fountain was politically flattering for Innocent X. Bernini intentionally ventured away from traditional ideas in order to more completely meet Innocent X’s political aspirations. For example, the figure of the Nile River is typically paired with the Tiber River, as is the case with the figures at the Campidolgio. The use of the Danube to represent Catholic Europe, therefore, was innovative at the time. Bernini also caters to Innocent X by including the horse next to the Danube. The horse is a symbol of military power, but it still ultimately placed underneath the Pamphilj symbol of the dove and olive branch, which also symbolize peace. This emphasized Innocent X’s role as peacemaker. In the design of the fountain, Bernini was also able to incorporate the four natural elements. Water is represented both symbolically, with the four figures, and literally, with the gushing water beneath the figures. Fire is represented as a ray of light by the obelisk and the rocky base of the fountain represents earth. Air is represented by the apparent movement of the palm tree in the wind and also the grotto-like space underneath the base.

 

Although the structure is innovative in numerous respects, Bernini still holds on to many of his traditional Baroque techniques. As with his earlier works, Bernini’s design exemplified the Baroque tradition of dynamic movement in his sculpture. Each of the figures, with perhaps the exception of the Ganges, appear as if in motion. The entire fountain must be circumnavigated in order for a viewer to see all of the parts, as if it’s meant to be experienced scene by scene. The structure itself creates an illusion of instability. Not only is the towering obelisk entirely free standing, but also the base is cut through completely on both axes. Bernini received much criticism and people doubted its stability, especially because of his previous failure at St. Peter’s. In retaliation, Bernini approached the monument and, amidst the large crowd that had gathered, proceeded to inspect the structure and then tied four pieces of twine to the tip of the obelisk and attached them to the surrounding buildings. He then stepped back, looked at his work approvingly, and then walked away, leaving the spectators astonished. Despite the doubts of his critics, Bernini’s fountain has remained completely stable and hasn’t moved an inch since its erection.

 

Although the design of the fountain was Bernini’s, he didn’t actually carve most of it. As was customary for successful artists in the seventeenth century, Bernini had his assistants carve most of the structure. The four marble figures were actually done by his assistants Raggi, Poussin, Baratta, and Fancelli. Still others were assigned to carve the travertine base and the bronze dove that tops the obelisk. Bernini is accredited with actually carving only the palm tree, the lion, and the horse.

 

Completed in 1651, the Fountain of Four Rivers has long been considered one of the greatest public works done by Bernini. When Innocent X was inspecting the fountain before it was unveiled, Bernini informed him that it wasn’t yet complete. Disappointed, Innocent X turned to leave. At that precise moment, Bernini signaled for the water to be turned on. Innocent X was so surprised and pleased with the work that he proclaimed that Bernini had added ten years to his life (he in fact died four years later). Surprisingly, Bernini himself was not proud of the piece. It is said that years later, when he was being driven past the fountain in his carriage, he was forced to close the curtain as he muttered, “How ashamed I am of having done such poor work.” Nevertheless, Bernini’s Fountain of Four Rivers warranted praise from both his patron and the public and continues to captivate viewers to this very day.

 

[REF: Katie Ho, UW Honors Program in Rome, 2008]

 

Nile

The Piazza Navona

2. The Fountains in the Navona

In the centre stands the famous Fontana dei Quattro Fiumi or Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini, topped by the Obelisk of Domitian, brought here in pieces from the Circus Maximus. (See my page on “Obelisks in Rome”) The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, an ancient Egyptian obelisk surmounted with the Pamphilj family emblem of a dove with an olive twig. Just below the emblem there are some newly (17th. C.) added Egyptian hieroglyphs that essentially say ‘the pope is great’.

 

The four major sculptures of the base represent four major rivers of the four continents through which papal authority had spread: the Nile representing Africa, the Danube representing Europe, the Ganges representing Asia, and the Río de la Plata representing the Americas. Each has animals and plants that further identify the region, and each carries a number of allegories and metaphors with it. The Ganges carries a long oar, representing the river's navigability. The Nile's head is draped with a loose piece of cloth, meaning that no one at that time knew exactly where the Nile's source was.

 

The Danube touches the Pope's personal coat of arms, since it is the river closest to Rome, and the Río de la Plata is sitting on a pile of coins, a symbol of the riches America could offer to Europe (plata meaning silver in Spanish). Also, the Río de la Plata looks scared by a snake, showing rich men's fear that their money could be stolen. Each is a river god, semi-prostrate, in awe of the central tower, epitomized by the slender Egyptian obelisk symbolizing Papal power, surmounted by the Pamphilj symbol. (See more detail on the design and composition of the figures below.)

 

There is a story that, when Pope Innocent X (the head of the Pamphilj family) decided that there was to be a major fountain commissioned for the centre of the Navona, the two great architectural rivals Borromini and Bernini both desperately wanted the job. At the time, the Pope was decidedly in favour of Borromini.  Bernini was indeed desperate… he had what he believed to be a wonderful design in mind and was convinced his was right for the location. The Pope soon got very tired of Bernini’s persistent applications and banned him from his presence. Not to be thwarted, Bernini made a silver model of his fountain and had it placed in the foyer of the Palazzo Pamphilj at the southern end of the Piazza. When next the Pope entered the Palazzo he could not avoid seeing the model… he was immediately won over and commissioned the fountain then and there.

 

Many tour guides will tell you that the fountain has the figure of the Río de la Plata recoiling in horror at the Borromini designed Church of Saint Agnes in Agone, with his hand shielding his eyes from the sight of the new style Baroque exterior of the church. None of the four figures actually face the church. This unfortunately cannot be true, as construction of the church did not commence until 1652, one year after the fountain was completed. However, this does not discount the idea that Bernini had the fountain placed several metres to the right of where the main entrance of the church would be, therefore spoiling the symmetry of any future design.

 

Piazza Navona has two other fountains. At the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta (1575) to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin.

 

At the northern end is the Fountain of Neptune (1574), also created by Giacomo della Porta. The statue of Neptune in this fountain, the work of Antonio Della Bitta, was added in 1878 to make that fountain more symmetrical with the Fontana del Moro in the south end.

 

More detail (too much?) on the Fontana dei Quattro Fiumi...

 

GangesThe Ganges River flows through India, so the figure represents Asia. He is depicted with an oar representing the navigability of the waters. He is also accompanied by a palm tree and a serpent.

 

The Nile River represents Africa and his shrouded head signifies that the source of the river was unknown at the time. He is also depicted with a lion beside him.Nile

 

Rio de la PlataThe Rio de la Plata, which flows between Argentina and Uruguay, represents America. He has a bag of coins spilling out beneath him, representing the riches of the New World. He is also shown with an armadillo, which was believed to be native to the area. However, its ridiculous appearance reveals how little was actually known of the New World.

 

DanubeThe Danube, which flows from Germany through present-day Austria and Romania and empties into the Black sea, was chosen to represent Europe. He is accompanied by a horse.

 

If the obelisk is representative of divine light, then the poses of the figures can be reconsidered in reference to the Catholic Church. The Nile (with his shrouded head) and the Ganges (who is looking indifferently at spectators and across the Piazza) are both oblivious to the symbolic light of the obelisk. The Rio de la Plata acknowledges it, but raises his arm to shield himself from the blinding light. He is also shielding himself from the Pamphilj coat of arms, which hangs next to him. The Danube, however, faces the obelisk and Pamphilj coat of arms, and raises both of his arms in acknowledgment. This picture presents the concept of the authority of the Church over the four continents. The propagandistic message of this design asserts the supremacy of the papacy at a time of political unrest. This is exemplified by Bernini’s choice of the Danube to represent Catholic Europe, instead of the more apparent choice of the Tiber.

 

The choice by Bernini is justified when considering the current events of the time. The area surrounding the Danube River was hardly a stronghold of the Catholic Church. Instead, there was a strong Protestant presence in the area. While this fountain was being designed, it was reaching the end of the Thirty Years War, which took place between the Protestants and the Catholics. After Urban VIII’s death in 1644, the Church was looking to elect a pope that would restore peace and reinstate Catholicism in the area of the Austrian monarchy. When the war ended with the Treaty of Westphalia in 1648, the Church lost certain districts, but gained Austria and Bohemia under the direct jurisdiction of the Church. This ultimately resulted in the collapse of a Protestant stronghold. Therefore, having the figure of the Danube holding the papal crest implies the submission of the area to the Church under Innocent X’s rule.

 

The choice of the Ganges and the Rio de la Plata to represent Asia and America, respectively, is also interesting. These two rivers were centers of Pope Innocent X’s missionary activity, with the Ganges being a stronghold of Catholic missions in Asia and the Rio de la Plata running through Jesuit establishments in the New World.

 

Bernini, in his design, was deliberately appealing to Innocent X’s political ambitions. The design of the fountain was politically flattering for Innocent X. Bernini intentionally ventured away from traditional ideas in order to more completely meet Innocent X’s political aspirations. For example, the figure of the Nile River is typically paired with the Tiber River, as is the case with the figures at the Campidolgio. The use of the Danube to represent Catholic Europe, therefore, was innovative at the time. Bernini also caters to Innocent X by including the horse next to the Danube. The horse is a symbol of military power, but it still ultimately placed underneath the Pamphilj symbol of the dove and olive branch, which also symbolize peace. This emphasized Innocent X’s role as peacemaker. In the design of the fountain, Bernini was also able to incorporate the four natural elements. Water is represented both symbolically, with the four figures, and literally, with the gushing water beneath the figures. Fire is represented as a ray of light by the obelisk and the rocky base of the fountain represents earth. Air is represented by the apparent movement of the palm tree in the wind and also the grotto-like space underneath the base.

 

Although the structure is innovative in numerous respects, Bernini still holds on to many of his traditional Baroque techniques. As with his earlier works, Bernini’s design exemplified the Baroque tradition of dynamic movement in his sculpture. Each of the figures, with perhaps the exception of the Ganges, appear as if in motion. The entire fountain must be circumnavigated in order for a viewer to see all of the parts, as if it’s meant to be experienced scene by scene. The structure itself creates an illusion of instability. Not only is the towering obelisk entirely free standing, but also the base is cut through completely on both axes. Bernini received much criticism and people doubted its stability, especially because of his previous failure at St. Peter’s. In retaliation, Bernini approached the monument and, amidst the large crowd that had gathered, proceeded to inspect the structure and then tied four pieces of twine to the tip of the obelisk and attached them to the surrounding buildings. He then stepped back, looked at his work approvingly, and then walked away, leaving the spectators astonished. Despite the doubts of his critics, Bernini’s fountain has remained completely stable and hasn’t moved an inch since its erection.

 

Although the design of the fountain was Bernini’s, he didn’t actually carve most of it. As was customary for successful artists in the seventeenth century, Bernini had his assistants carve most of the structure. The four marble figures were actually done by his assistants Raggi, Poussin, Baratta, and Fancelli. Still others were assigned to carve the travertine base and the bronze dove that tops the obelisk. Bernini is accredited with actually carving only the palm tree, the lion, and the horse.

 

Completed in 1651, the Fountain of Four Rivers has long been considered one of the greatest public works done by Bernini. When Innocent X was inspecting the fountain before it was unveiled, Bernini informed him that it wasn’t yet complete. Disappointed, Innocent X turned to leave. At that precise moment, Bernini signaled for the water to be turned on. Innocent X was so surprised and pleased with the work that he proclaimed that Bernini had added ten years to his life (he in fact died four years later). Surprisingly, Bernini himself was not proud of the piece. It is said that years later, when he was being driven past the fountain in his carriage, he was forced to close the curtain as he muttered, “How ashamed I am of having done such poor work.” Nevertheless, Bernini’s Fountain of Four Rivers warranted praise from both his patron and the public and continues to captivate viewers to this very day.

 

[REF: Katie Ho, UW Honors Program in Rome, 2008]