Fountain of the Four Rivers

The Fountain of the Four Rivers, located in the center of Piazza Navona in Rome, is a masterpiece of Roman Baroque, designed by Gian Lorenzo Bernini and completed between 1648 and 1651. This monument, commissioned by Pope Innocent X Pamphilj, represents the four main rivers of the continents known at that time: the Danube for Europe, the Ganges for Asia, the Nile for Africa, and the Rio de la Plata for the Americas. The fountain is topped by the Agonal obelisk, coming from the Circus of Maxentius, and masterfully combines sculpture and architecture to create a dynamic and evocative work. The history of the fountain begins with Pope Innocent X’s desire to embellish Piazza Navona, one of the liveliest places in Rome. In 1647, the pontiff entrusted the construction of the Vergine aqueduct to Francesco Borromini to bring water to the square and announced a competition for the design of the fountain. Gian Lorenzo Bernini, who at the time did not enjoy the favor of the Pope, managed to obtain the commission thanks to the intervention of Olimpia Maidalchini, the pontiff’s sister-in-law. Bernini created a silver model of the fountain, which impressed Olimpia so much that she convinced the Pope to choose him as the architect of the work. The construction of the fountain was not without controversy. The high cost of the work was financed through a tax on bread, a measure that caused discontent among the Roman citizens. However, Bernini managed to complete the fountain in a few years, working with a team of skilled sculptors, including Giovan Maria Franchi, Giacomo Antonio Fancelli, Claude Poussin, Antonio Raggi, and Francesco Baratta. The fountain consists of a large elliptical basin at the base, from which emerges a central sculptural group in travertine. In the center rises the Agonal obelisk, an ancient Roman imitation of Egyptian obelisks. The choice to place the obelisk on a hollow structure, supported only by the corners of the base, was an architectural innovation by Bernini that challenged the canons of the time. The four colossi representing the rivers are sculpted in white marble and positioned around the obelisk. Each of them is characterized by iconographic details symbolizing their geographical and cultural peculiarities. The Danube, sculpted by Antonio Raggi, bears one of the Pamphilj coats of arms, symbolizing the Pope’s authority over Europe. The Nile, the work of Giacomo Antonio Fancelli, has his face covered by drapery, symbolizing the unknown source of the river at that time. The Ganges, sculpted by Claude Poussin, holds an oar indicating its navigability, while the Rio de la Plata, by Francesco Baratta, holds a sack of silver coins, alluding to the wealth of its lands. The fountain is rich in symbolism and naturalistic details. Around the colossi, Bernini included a variety of animals and plants that strengthen the connection between the rivers and their natural environments. Among the animals represented are a horse emerging from the rocks, a lion drinking, a crocodile (or armadillo) emerging from the side of the Rio de la Plata, a sea serpent, and a dolphin in the basin. The African palm rising next to the lion and other plants, such as prickly pears, complete the exotic and picturesque landscape. The Fountain of the Four Rivers was not immediately appreciated by everyone. Some critics of the time considered the work excessively theatrical and detailed, but over time the fountain has become one of the most beloved symbols of Rome, admired for its ability to unite art and nature in a harmonious and dynamic composition. Over the centuries, the fountain has undergone several restoration interventions to preserve its beauty and functionality. A significant restoration was carried out by the Central Institute for Restoration, funded by the Ministry for Cultural Heritage and Activities, which cleaned the fountain from excrement and invasive vegetation, consolidated damaged areas, and installed an electrostatic system to deter birds. A second restoration was carried out in 2021 to monitor the conservation status and repair minor damages, such as the detachment of the lion’s jaw. An interesting anecdote concerns the rivalry between Bernini and Borromini. Tradition has it that Bernini sculpted the figure of the Rio de la Plata with his hand raised in a defensive gesture, almost fearing the collapse of the Church of Sant’Agnese in Agone, designed by Borromini and located in front of the fountain. However, this story is just a legend, as the construction of the church began only after the completion of the fountain.