Trevi Fountain

The Trevi Fountain is located in Piazza di Trevi, in the Trevi district, and is undoubtedly one of Rome's most famous and recognizable monuments. Although the appearance that makes this place world-famous dates back to the 18th century, the fountain's origins are much older, dating back to the reign of Emperor Augustus, when the Aqua Virgo aqueduct was restored, bringing water from the Salone basin to the Campus Martius. Among other things, it was used to supply the Baths of Agrippa, built by order of Emperor Augustus's son-in-law, Marcus Vipsanius Agrippa.

After the siege of Vitiges by the Goths in 537, the Virgo Aqueduct remained in operation throughout the Middle Ages, with a reduced capacity compared to previous centuries due to the damage sustained during the war. This aqueduct, despite numerous modifications to its route and connections, is the only one in Rome to have remained continuously operational from the time of Augustus to the present day, where it continues to supply the city with water.

The aqueduct's terminus in Rome was in the Quirinal area, specifically the Trivium, the heart of the Trevi district. It was here, in Piazza di Trevi, that the first Trevi Fountain was built at the beginning of the 15th century: three spouts pouring water into three separate basins, a work first mentioned in 1410. This fountain did not last long, because as early as 1453, Pope Nicholas V Parentucelli (1447-1555) commissioned Leon Battista Alberti to replace the three basins with a single large basin, water pouring from a rusticated wall. A plaque commemorated the Pope's role in the fountain's construction.

In 1570 Pope Saint Pius V Ghislieri (1566-1572) carried out other small interventions, reconnecting the fountain to its original sources, among other things.

The previous appearance of the Trevi Fountain in an engraving by Giovanni Battista Falda from 1660

 

In the 17th century, plans began to be made to redesign the fountain in a new form. Pope Urban VIII Barberini (1623-1644), who held the Trevi district, where his family's palace was located, deeply dear, commissioned Gian Lorenzo Bernini to completely redesign the space. It was to become a scenic square with a large fountain, an ideal connection between the nearby Quirinale Palace, then the Pope's residence, and the Barberini Palace, then under construction. This was similar to what would happen shortly after in Piazza Navona, where Urban VIII's successor, Pope Innocent X Pamphili (1644-1655), wanted to make the square more scenic by renovating the family palace, the Church of Sant'Agnese in Agone, and by creating the Fountain of the Four Rivers. However, it was precisely Urban VIII's death and his successor's new project that led to the Trevi Fountain's failure to be built in Baroque style.

Pope Alexander VII Chigi, however, had a somewhat different idea. In 1666, he again considered the possibility of creating a monumental exhibition for the Virgo Aqueduct. However, he did not envision a reconstruction of the Trevi Fountain, but instead identified another square. He initially envisioned Piazza Colonna, in front of his family palace, but later preferred Piazza Santi Apostoli. He commissioned Pietro da Cortona to carry out the work. However, the work never began.

The issue, however, was taken up again a few decades later by Pope Clement XI Albani (1700-1721), who commissioned Carlo Fontana first and then Bernardo Castelli (nephew of Francesco Borromini) to create specific projects for the fountain and the square.

Fontana's design included an obelisk placed on a group of rocks, a decoration very similar to Bernini's Fountain of the Rivers in Piazza Navona, and also similar to Castelli's design, which however included a column in place of the obelisk and a spiral staircase.

However, as time passed, the construction of the Trevi Fountain seemed to become increasingly complicated, especially after the Counts Dukes of Poli, the family of Pope Innocent XIII Conti (1721-1724), expanded their properties into the buildings near the fountain, with the aim of building a noble palace there.

Plans to renovate the fountain, however, continued and became increasingly concrete. Pope Benedict XIII Orsini (1724-1730) called upon numerous artists to design the new Trevi Fountain. The Pontiff, originally from Gravina di Puglia, decided to call only artists from Southern Italy, but none of their designs was particularly convincing. However, Paolo Benaglia created a statue of the Madonna and Child for the new fountain, the fate of which, however, remains unknown.

The Trevi Fountain issue, however, became increasingly sensitive in the art world, and numerous architects and sculptors submitted their designs, while the Accademia di San Luca launched themed competitions, in which, over time, Nicola Michetti, Luigi Vanvitelli, and Ferdinando Fuga, among others, participated.
After a century of projects, the turning point came in 1731 with Pope Clement XII Corsini (1730-1740), who wanted to complete many unfinished works, including the Trevi Fountain. Aware of the issue of the Palazzo Poli located behind the fountain, he decided to launch a competition that would ensure the preservation of that palace and the coexistence of its facade on the square with the fountain itself. In this context, the most popular projects were those of Ferdinando Fuga, Nicola Salvi, and Luigi Vanvitelli.

The original project by Nicola Salvi

The Frenchman Lambert-Sigisbert Adam was originally credited with winning the competition, but he was forced to abandon the project due to his recall to France.
In the end, after decades of projects that had seen the names of great architects propose their ideas, the task was finally entrusted to a name who was perhaps less well-known, but who would go on to create one of the world's greatest artistic masterpieces: Nicola Salvi.

Romano, perhaps of Abruzzese origins, was a pupil of Antonio Canevari and collaborated with Luigi Vanvitelli, but his name is known almost exclusively for the Trevi Fountain, an almost paradoxical fact especially considering that much more famous names were called upon to realize the ambitious project.

The work's main feature is its dramatic placement behind the Palazzo Poli. The Conti di Poli family, by a historical twist, thus finds the coat of arms of the Corsini family, of which Pope Clement XII was a member, on the front of their palace.

Furthermore, the work, in its scenography, contains within itself a large part of the Roman Baroque tradition, largely Bernini's, almost as a farewell to this style which in the 18th century had dragged on in the form of the so-called Roman Baroque.

Work began in 1732 and was funded by the lottery, but it was long and arduous, lasting 30 years, despite an initial inauguration in 1735.
By 1747, the rocks and statues were completed, and after Salvi's death in 1751, Giuseppe Pannini—who was removed from the post for making changes to the original design—and Pietro Bracci were called in first. Finally, in 1762, Pope Clement XIII Rezzonico (1758-1769) inaugurated the new fountain.

 

Trevi Fountain in an engraving by Carlo Antonini from 1780

 

As mentioned, this is a work with a strong Baroque influence. A large, dramatic cliff, similar in many respects to the rocks in Bernini's Fountain of the Rivers, occupies the entire lower section of Palazzo Poli. In the center, a niche holds the statue of Oceanus, by Pietro Bracci, which dominates the scene. To the left and right are two statues in niches, respectively Health and Abundance, by Filippo Della Valle. Above them are two bas-reliefs: Agrippa approving the construction of the Aqua Virgo (by Giovan Battista Grossi) and the Virgin who, according to tradition, showed the soldiers the fountain, by Andrea Bergondi.

Four large columns frame this central composition, surmounted respectively by the statues of the Abundance of Fruit (by Agostino Corsini), the Fertility of the Fields (by Bernardino Ludovisi), the Wealth of Autumn (by Francesco Queirolo), and the Pleasure of the Gardens (by Bartolomeo Pincellotti). At the center, a large inscription celebrates the fountain's inauguration in 1735, commissioned, as noted, by Clement XII, whose coat of arms surmounts the entire structure, supported by representations of Fame by Paolo Benaglia.

A curious sculpture can be seen on the east side of the balustrade, depicting a vase similar to the one featured on the ace of cups in playing cards. A curious anecdote is associated with this sculpture: it seems that there was a barber's shop next door, and he regularly criticized the work on the new fountain. Nicola Salvi therefore decided to punish him by depriving him of the fountain's view by creating this vase.

Over time, a tradition has developed around the Trevi Fountain: throwing a coin into it while turning your back on the fountain with your eyes closed, a gesture meant to be a sign to visitors to Rome that they will return. It's unclear how this custom originated, but many believe its initiator was German archaeologist Wolfgang Helbig. Helbig, a key figure in German social life in Rome between the 19th and 20th centuries, often invoked ancient rituals to entertain his guests, in this case to make their departure less traumatic. The custom of leaving offerings in fountains and wells is, in fact, of archaic origin and served to propitiate local deities, especially for travelers, and thus gave rise to customs such as wishing wells. Helbig may have drawn on these traditions to invent the tradition of throwing a coin into the Trevi Fountain, which was so successful that today it's common to encounter tourists who don't practice the well-known custom.

This custom has also led to a considerable fortune being accumulated in the fountain's basin every day, a sum that in 2006 was approximately €300,000 per day. That very year, the City of Rome decided that this sum would be donated to Caritas Rome. There are those who attempt to steal these coins illegally, but this is a violation punishable by fines.
Another tradition is linked to the fountain, although it ceased to exist when it was no longer possible to drink the water from the Trevi Fountain, once considered among the best in Rome. When a young man was about to leave, his girlfriend would give him a glass of water from the Trevi Fountain as a wish for a safe journey and fidelity. The glass was then broken.

 

The famous bath in the Trevi Fountain in La Dolce Vita

 

The fountain's history is undoubtedly an international symbol, thanks in part to its many famous appearances in films, most notably in 1960's La Dolce Vita. The scene in which Marcello Mastroianni and Anita Ekberg bathe in the fountain at night in elegant attire is famous worldwide, and for this reason, some people sometimes try to emulate the famous bath, risking fines.
Another milestone is undoubtedly the 1961 film Totòtruffa 62, in which the great Neapolitan actor Totò passes himself off as the owner of the Trevi Fountain, selling it to a tourist.
In 2007, the fountain was the subject of a curious episode: its waters were dyed red.

 

The Trevi Fountain's water dyed red by Graziano Cecchini

 

After onlookers gathered around the fountain to witness the curious incident, Graziano Cecchini was stopped by law enforcement and declared his gesture a work of futurist art. In 2017, 10 years after the event, Cecchini decided to repeat the gesture.

Other sites about it:

- La madre di tutte le fontane - in Andrea Pollett