Введение
Фонтан, спроектированный Джан Лоренцо Бернини. Fontana dei Quattro Fiumi (Фонтан Четырёх Рек) — фонтан на площади Навона в Риме, Италия. Он был спроектирован в 1651 году Джан Лоренцо Бернини для Папы Иннокентия X, чей семейный дворец, Палаццо Памфили, выходил на площадь, как и церковь Сант-Аньезе в Агоне, спонсором которой был Иннокентий.
Fountain designed by Gian Lorenzo Bernini
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Описание. Основание фонтана — бассейн, из центра которого возвышаются травертиновые скалы, поддерживающие четырех речных богов, а над ними — копия египетского обелиска, увенчанная эмблемой семьи Памфили — голубя с оливковой ветвью. В совокупности они представляют четыре основные реки четырех континентов, через которые распространялась папская власть: Нил — Африку, Дунай — Европу, Ганг — Азию и Рио-де-ла-Плата — Америку.
Fountain designed by Gian Lorenzo Bernini
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Дизайн. Дизайн Бернини был выбран в конкурсе. Обстоятельства его победы описаны следующим образом в книге Филиппо Балдинуччи «Жизнь кавалера Бернини» (1682):
Fountain designed by Gian Lorenzo Bernini
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Общественные фонтаны в Риме служили нескольким целям: во-первых, они были крайне необходимыми источниками воды для жителей в столетиях до появления водопровода в домах. Во-вторых, они были памятниками папским покровителям. Ранее фонтанами Бернини были Фонтан Тритона на площади Барберини, Фонтан Мавра в южной части площади Навона, возведенный во время папства Барберини, и Нептун и Тритон для Виллы Перетти Монтальто, статуя которой сейчас находится в Музее Виктории и Альберта в Лондоне.
Fountain designed by Gian Lorenzo Bernini
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Аллегории Четырёх Рек: река Ганг, река Нил, река де ла Плата, река Дунай.
Fountain designed by Gian Lorenzo Bernini
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Каждая из них имеет животных и растения, которые способствуют идентификации, и каждая несет с собой определенное количество аллегорий и метафор. На Ганге есть длинное весло, символизирующее судоходство реки. Голова Нила покрыта свободной тканью, что означает, что в то время никто точно не знал, где находится источник Нила. Дунай касается личного герба Папы Римского, поскольку это крупная река, ближайшая к Риму. А Рио-де-ла-Плата сидит на куче монет, символе богатства, которое Америка могла предложить Европе (слово plata означает «серебро» на испанском языке). Кроме того, Рио-де-ла-Плата выглядит испуганной змеей, показывая страх богатых людей, что их деньги могут быть украдены. Каждый из них представляет собой речного бога, полулежащего, в благоговейном трепете перед центральной башней, олицетворяемой тонким египетским обелиском, символизирующим папскую власть, увенчанную символом Памфили (голубем). Кроме того, фонтан — это театральное пространство, зрелище, вокруг которого можно прогуляться. Вода течет и брызжет из изрезанного и пронзенного горного массива из травертина.
Fountain designed by Gian Lorenzo Bernini
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Распространенная среди гидов легенда гласит, что Бернини закрыл голову Нила, как будто скульптура не могла вынести взгляда на фасад церкви Сант-Аньезе, созданной его соперником Борромини; на самом деле фонтан был завершен за несколько лет до того, как Борромини начал работу над церковью. Обелиск, сделанный из асванского гранита, имеет интересную историю. Он связан с императором Домицианом и первоначально считалось, что он прибыл из Серапея, который император перестроил в 80 году н.э. Однако в равной степени вероятно, что обелиск мог происходить из Храма рода Флавиев на холме Квиринале, построенного Домицианом и посвященного его семейному культу. Иероглифические надписи на обелиске были римского авторства, представляя собой гимн Домициану и обожествленным императорам Веспасиану и Титу, возможно, по случаю реставрации. В IV веке обелиск был перенесен в цирк императора Максенция, расположенный между церковью Святого Себастьяна и гробницей Цецилии Метеллы вдоль Аппиевой дороги, где он был найден и перенесен к Фонтану. Цирк, а также близлежащая вилла и мавзолей, сначала приписывались императору Каракалле, пока раскопки, проведенные Антонио Нибби в 1825 году, не обнаружили надпись, идентифицирующую владельца участка. У основания каждого из четырех мест, где стоял обелиск, находится табличка с переводом Афанасием Кирхером иероглифов на латинский язык.
Fountain designed by Gian Lorenzo Bernini
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
На дизайн Бернини повлиял дизайн Монумента Четырех Мавров (Monumento dei Quattro mori), а также фонтан в Марино, Лацио, построенный в память о победе над османами при Лепанто в 1571 году. Этот фонтан послужил вдохновением Франческо Роббе (1698–1757) для фонтана Роббы, который стоит (с 2006 года в качестве реплики) на городской площади в Любляне, столице Словении. Это один из самых узнаваемых символов города.
Fountain designed by Gian Lorenzo Bernini
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Динамическое слияние архитектуры и скульптуры сделало этот фонтан революционным по сравнению с предыдущими римскими проектами, такими как вычурные конструкции Аква Феличе и Паола работы Доменико Фонтаны на площади Сан-Бернардо (1585–87) или обычные украшенные геометрические цветочные бассейны под струей воды, такие как Фонтанина на площади Кампителли (1589) работы Джакомо делла Порта. По словам Саймона Шамы, «В то время это, безусловно, было величайшим водным зрелищем в любом городском пространстве Европы».
Fountain designed by Gian Lorenzo Bernini
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. Description
The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they 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. Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the Fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Peretti Montalto, whose statuary now resides at Victoria and Albert Museum in London. Allegories of the Four Rivers River Ganges River Nile River de la Plata River Danube
Each has animals and plants that further carry forth identification, and each carries a certain 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 large 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 (the word plata means "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 Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour guides, is that Bernini covered the head of the Nile as if the sculpture couldn't bear to look at the facade of the church of Sant'Agnese by his rival Borromini; in reality, the fountain was completed several years before Borromini began work on the church. The obelisk, made of Aswan granite, has an interesting history. It is connected with the emperor Domitian, and was originally thought to have come from the Serapeum, which the emperor rebuilt in A. D. 80. However, it is equally plausible that the obelisk might have originated from the Temple of the Gens Flavia on the Quirinal Hill, built by Domitian dedicated to his family cult. The hieroglyphic inscriptions on the obelisk were of Roman authorship, offering a hymn to Domitian, and the deified emperors Vespasian and Titus, possibly on the occasion of something being restored. In the fourth century, the obelisk was relocated to the Circus of the emperor Maxentius, located between the Church of St. Sebastian and the tomb of Cecilia Metella along the Appian Way, where it was found and moved to the Fountain. The circus – as well as the nearby villa and mausoleum – was first believed to be attributed to the emperor Caracalla, until excavations carried out by Antonio Nibby in 1825, in which an inscription identifying the ownership of the site was found. At each of the four sites of the obelisk is a tablet, containing Athanasius Kircher's translation into Latin of its hieroglyphs. Bernini's design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori'') and it may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at Lepanto in 1571. This fountain was the inspiration to Francesco Robba (1698–1757) for the Robba fountain, which stands (since 2006 as a replica) at Town Square in Ljubljana, the capital of Slovenia. It is one of the city's most recognisable symbols. The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Domenico Fontana in Piazza San Bernardo (1585–87) or the customary embellished geometric floral shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta. According to Simon Schama, "At that time it was surely the greatest water spectacle in any urban space in Europe."
Открытие
Фонтан Четырех Рек был представлен римлянам 12 июня 1651 года. Согласно донесению того времени, для привлечения публики на площадь Навона было организовано торжественное мероприятие. До этого деревянные леса, завешенные полотнами, скрывали фонтан, хотя, вероятно, не обелиск, который мог дать людям представление о строительстве, но точные детали оставались неизвестными. После открытия во всей своей красе предстал фонтан, величие которого и должны были подчеркнуть празднества. Финансировала фестиваль семья Памфили, а конкретно Иннокентий X, который и спонсировал возведение фонтана. Самый заметный элемент на гербе Памфили – оливковая ветвь – держали в руках участники представления. Автор донесения, Антонио Берналь, подробно описывает часы, предшествовавшие открытию. О начале торжеств возвестила женщина, одетая в образ аллегорической фигуры Славы, которая проехала по улицам Рима в карете или на украшенной платформе. Она была роскошно одета, с крыльями за спиной и длинным трубным инструментом в руке. Берналь отмечает, что "она грациозно проезжала по всем улицам и районам, расположенным на семи холмах Рима, часто играя на круглой бронзовой трубе и призывая всех направиться на знаменитую площадь". За ней следовала вторая карета, в которой была женщина, изображающая аллегорическую фигуру Любопытства. Согласно донесению, она также подбадривала народ идти к площади. Берналь описывает шум и гам толпы, обсуждавшей предстоящее событие. В отчете не так подробно описывается сам процесс открытия фонтана, но дается подробное описание реакции собравшихся на площади зрителей. Берналь отмечает, что оказавшись там, горожане были ошеломлены огромным фонтаном с его колоссальными, живыми фигурами. В донесении упоминаются "восхищенные души" народа, фонтан, "изливающий множество серебряных сокровищ", вызывая у зрителей "немалое удивление". Затем Берналь продолжает описывать фонтан, постоянно подчеркивая кажущийся натурализм фигур и их поразительное воздействие на присутствующих на площади. Возведение фонтана вызвало недовольство римлян по нескольким причинам. Во-первых, Иннокентий X распорядился строить фонтан на государственные средства во время жестокого голода 1646–1648 годов. На протяжении всего строительства в городе роптали и говорили о возможных беспорядках. В сентябре 1648 года авторы паскинад выразили протест против строительства фонтана, прикрепив рукописные оскорбления к каменным блокам, использованным для обелиска. В этих паскинадах говорилось: "Нам не нужны обелиски и фонтаны, нам нужен хлеб. Хлеб, хлеб, хлеб!" Иннокентий X немедленно арестовал авторов, а замаскированные шпионы стали патрулировать статую Паскино и площадь Навона. Уличные торговцы рынка также выступали против строительства фонтана, поскольку Иннокентий X выгнал их с площади. Папа Памфили считал, что они портят величие площади. Торговцы отказались уходить, и папская полиция выгнала их с площади. Особенно сожалели о закрытии площади Навона римские евреи, которым разрешалось продавать там подержанную одежду по средам.
The Fontana dei Quattro Fiumi was unveiled to the populace of Rome on 12 June 1651. According to a report from the time, an event was organised to draw people to the Piazza Navona. Beforehand, wooden scaffolding, overlaid with curtains, had hidden the fountain, though probably not the obelisk, which would have given people an idea that something was being built, but the precise details were unknown. Once unveiled, the full majesty of the fountain would be apparent, which the celebrations were designed to advertise. The festival was paid for by the Pamphili family, to be specific, Innocent X, who had sponsored the erection of the fountain. The most conspicuous item on the Pamphili coat of arms, an olive branch, was brandished by the performers who took part in the event. The author of the report, Antonio Bernal, takes his readers through the hours leading up to the unveiling. The celebrations were announced by a woman, dressed as the allegorical character of Fame, being paraded around the streets of Rome on a carriage or float. She was sumptuously dressed, with wings attached to her back and a long trumpet in her hand. Bernal notes that "she went gracefully through all the streets and all the districts that are found among the seven hills of Rome, often blowing the round bronze [the trumpet], and urging everyone to make their way to that famous Piazza." A second carriage followed her; this time another woman was dressed as the allegorical figure of Curiosity. According to the report, she continued exhorting the people to go towards the piazza. Bernal describes the clamour and noise of the people as they discussed the upcoming event. The report is actually less detailed about the process of publicly unveiling the fountain. However, it does give ample descriptions of the responses of the spectators who had gathered in the Piazza. Once there, Bernal notes, the citizens of the city were overwhelmed by the massive fountain, with its huge lifelike figures. The report mentions the "enraptured souls" of the population, the fountain, which "gushes out a wealth of silvery treasures" causing "no little wonder" in the onlookers. Bernal then continues to describe the fountain, making continuous reference to the seeming naturalism of the figures and its astonishing effect on those in the piazza. The making of the fountain was met by opposition by the people of Rome for several reasons. First, Innocent X had the fountain built at public expense during the intense famine of 1646–48. Throughout the construction of the fountain, the city murmured and talk of riot was in the air. Pasquinade writers protested against the construction of the fountain in September 1648 by attaching hand written invectives on the stone blocks used to make the obelisk. These pasquinades read, "We do not want Obelisks and Fountains, it is bread that we want. Bread, Bread, Bread!" Innocent quickly had the authors arrested, and disguised spies patrol the Pasquino statue and Piazza Navona. The street vendors of the market also opposed the construction of the fountain, as Innocent X expelled them from the piazza. The Pamphili pope believed they detracted from the magnificence of the square. The vendors refused to move, and the papal police had to chase them from the piazza. Roman Jews, in particular, lamented the closing of the Navona, since they had been allowed to sell used articles of clothing there at the Wednesday market.