The Fountain of the Four Rivers: A Spectacle of Symbolism and Splendor

I. Historical Background

Fountains have held a significant role in Rome since antiquity. In addition to supplying water for practical purposes to the general public, fountains aesthetically serve as decorative elements for most of the city’s gardens, courtyards, and neighborhood squares. This holds especially true for the Fountain of the Four Rivers, also referred to as Fontana dei Quattro Fiumi, arguably one of Rome’s finest fountains. Emblematic of the artistic Baroque style at the time, this fountain has become a virtuosic masterpiece saturated with political allegory and religious symbolism.

Pope Innocent X, born Giovanni Battista Pamphili, commissioned the Fountain of the Four Rivers. During his pontificate, Pamphili directed a competition that involved the creation of a new fountain on Piazza Navona. The main rule of this competition was to integrate a Roman copy of an Egyptian obelisk, found lying in the nearby Circus Maximus, into the fountain’s design. The Pope would then choose the best design for construction in the square. Not only would this project become an artistic addition to the Palazzo Pamphilj in Piazza Navona, but it would also propagate the name of the reigning papal family to the people of Rome.

Gianlorenzo Bernini, the chief architect of the Fountain of the Four Rivers, was originally not meant to receive the commission because he had fallen out of the papacy’s favor at the time. This was largely due to Bernini’s relationship with the previous pope, Urban VIII (Maffeo Barberini), who was notoriously criticized for draining the papal coffers to commission expensive art pieces. Pope Innocent X, wanting to distance himself from ties with his predecessor, did not want to hire artists closely linked with the previous pope—this included Bernini. Thus, Bernini was not asked to submit a design for the new fountain. This fact reveals more about Pamphili’s capacity for holding a grudge against the previous pope than it does Bernini’s lack of skill as an artist.

Regardless, the persistent Bernini was confident that he could capture the pope's interest and win the contest. Once he had created a silver Fountain of the Four Rivers model, he used his connections with Prince Niccolo Ludovisi, the Pope’s nephew, to sneak his model fountain into a room where the Pope would likely see it. Bernini’s scheme went according to plan, as Pope Innocent X did indeed pass by Bernini’s model after an evening dinner. Though Bernini’s project was estimated to be more costly than all of the other submissions, the pope instantly admired his work and hired the artist on the spot, returning Bernini to papal favor. Eventually, Pope Innocent X caught onto Bernini’s talent and was reported to have said, “We must employ Bernini: although there are many who would not wish it; the only way to resist him is to not see his work.”

Construction of the Fountain of the Four Rivers spanned four years, beginning in 1648 and finishing in 1651. Pope Innocent X came to view the structure days before its grand unveiling. By that time, Bernini had virtually finished his work on the fountain. The Pope was impressed with Bernini’s work and wanted to know how soon it would start flowing with water. The architect replied, “It takes more time, but I shall serve your holiness with all expedition.” Disheartened, the pope blessed Bernini and started to leave the piazza. Soon enough, Bernini signaled his workmen to bring the fountain to life with flowing water. The pope was delighted to see such a miracle and stated, “In giving us this unexpected joy, Bernini, you have added ten years to our life.” With the fountain completed, Bernini had finally become accepted by the pope's good graces, and Pamphili was credited for beautifying one of Rome’s most squalid neighborhoods.

II. Physical Description

The Four Rivers Fountain is located at the heart of Piazza Navona and towers over 50 meters tall. From any angle and direction in the piazza, the fountain displays something different and unique to the viewer. One of its most prominent features is the ancient Egyptian obelisk. This part of the fountain celebrates the triumph of the Catholic Church over pagan Rome. A base of travertine that Bernini carved as a grotto supports the obelisk. The figures of four male river gods personify the four known continents known at the time. To finish the commission in time, each of the river gods sculpted on the base was carved separately by Bernini’s assistants.

Fountain of the Four Rivers.

The river god representing the Ganges River of Asia is on the southwest corner of the fountain. This sculpture was the work of Claudio Poussin, who displayed the river god holding an oar. This is an allusion to the navigability of the Ganges River in India. A sea serpent accompanies the large oar, signifying the serpentine and twisting maneuverability of the river.

River god of the Ganges.

The next river god to the right hails from Africa. Representative of the Nile River, this figure was sculpted by Giacomo Antonio Fancelli. This river god is unique because its head is covered by a veil. This metaphorically relates to the unknown origins of the Nile River at the time of the fountain’s construction. A lion emerges between the river gods of Africa and Asia; its native origins are a link between the two continents.

River god of the Nile.

The next river god in the counterclockwise progression is Rio de la Plata, representing the Americas. Sculpted by Francesco Barrata, this river god seems to be raising his left arm toward the Sant’Agnese Church to prepare for the fall of the basilica’s façade. However, this general impression is incorrect because the fountain was constructed before the façade of the church. Instead, this river god is protecting his eyes from the sunlight. Furthermore, the figure is scattered with coins to illustrate the incredible wealth of the New World. Interestingly, the river god is depicted as a black man, reflecting that very little was known about the Americas then. At his side, there is an inaccurate portrayal of an armadillo, a creature native to the Americas, further demonstrating the limited knowledge of the American continents.

River god of Rio de la Plata.

The fourth and final river god on the fountain is that of the Danube River, carved by Antonio Raggi. It points towards the large Pamphilj coat of arms—three fleurs-de-lis and a dove with an olive branch—surrounded by the crossed keys of Saint Peter and the papal tiara, while looking wonderfully at the obelisk. Between the Danube and Rio de la Plata is a large horse, native to both regions, which indicates a connection between Europe and the Americas.

River god of the Danube.

III. Function

Baroque art is a style characterized by dynamic movement and technical virtuosity. The poses of the figures in the Fountain of the Four Rivers depict a marble freeze frame of theatrical movement. What makes this fountain a signature work of Bernini is the twisted and spiraled demeanor of the river gods. Moreover, the fountain demands that its audience circumambulate it to fully understand the structure. There is not one single position that offers a satisfactory view of the entire fountain. To see all the flora, fauna, and river gods, the spectator must continue moving around the fountain in a circular motion.

As for technical virtuosity, Bernini ingeniously designed his structure to be architecturally sound. He manages to erect a heavy granite obelisk over a hollowed-out foundation. This leaves the audience wondering how the giant obelisk is supported. The sense of disbelief and wonder adds to the dramatic effect of the fountain. Bernini’s conceit was that the fountain structure would be transparent beneath all the weight of the obelisk, permitting viewers to see right through the fountain, from one end of the piazza to the other. Furthermore, many critics claimed that the obelisk was doomed to fall. However, Bernini proves them all wrong. The obelisk stands firmly and has yet to move a single inch to this very day.

IV. Goals of the Patron

The Fountain of the Four Rivers represents the Pope’s expression of the assumed universal influence of Catholicism. Moreover, the obelisk was thought to symbolize the ray of the sun. The top of the spire is crowned by a dove and olive branch, symbolizing peace, the Holy Spirit, and the Pamphilj family. On closer inspection, the river gods respond differently to this symbol of holy light and papal government, reflecting each continent’s reception of the Catholic Church. For instance, the Nile—shrouded by a veil of cloth—and the Ganges look unresponsively across the piazza, clearly demonstrating their ignorance of the obelisk’s symbolic light. Additionally, the Rio de la Plata figure draws up his hand to shield his eyes from the blinding light, reflecting the recent colonization of Christianity in America at the time. Only the Danube of Europe receives the papal arms and recognizes the Holy Spirit from the top of the obelisk.

Though Bernini’s creation has received almost universal praise, it has also received harsh criticism. The building of the Fountain of the Four Rivers was originally heavily opposed by the people of Rome. Pope Innocent X had the fountain built at the public’s expense during a period of food shortage. Pasquinade writers protested the construction of the fountain with angry chants:

Noi volemo altro che guglie e fontane:

Pane volemo, pane, pane, pane!

We want other than obelisk and fountainhead:

It’s bread that we want, just bread, bread, bread!

V. Conclusion

The Fountain of the Four Rivers depicts an allegory of Catholic power and control among the most important regions in the world at the time. At first glance, the fountain lacks cohesion because each of the four river gods is sculpted with different metaphorical elements and objects, such as the coins for the Rio de la Plata and the oar for the Ganges River. In addition, the indigenous plants and animals surrounding the travertine grotto hail from diverse parts of the world. However, the presence of the obelisk ultimately completes the fountain, as it connects all of the continents under the Catholic faith. This sense of cosmopolitan unification reinforces and literally brings full circle, Bernini’s motives for the creation of the fountain.

VI. Personal Observations

When I entered Piazza Navona for the first time, my eyes could not help but stay affixed on Bernini’s magnificent creation. Day and night, the Fountain of the Four Rivers brims with energy. The clear water continuously splashes and cascades over a clean travertine masterpiece. What surprises me the most about this structure is its remarkable condition. Even after three centuries since its grand unveiling, the fountain still functions excellently. With hardly any signs of wear and tear on the marble, the fountain looks like it was constructed yesterday. This is mainly due to the fountain’s recent restoration project; tarps and scaffolding have concealed the structure for the last two years, showing only small glimpses to nearby passers. The newest installments to the fountain include a shock system that deters pigeons and water filters that reduce calcium deposits. With the restoration finally complete, the fountain today shines tirelessly in clean splendor.

VII. Bibliography

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Morrissey, Jake. The Genius in the Design: Bernini, Borromini, and the Rivalry that Transformed Rome. New York: William Morrow, 2005. 202-214. Print.

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