1 10 8 https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_di_Trevi/Trevi_Fountain.jpeg 817e7057c9e1649f253e52fed7f49dbd https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_di_Trevi/Fontana_di_Trevi_2.jpeg e15318944dd1d9716b3ce0caf85ce3b1 https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_di_Trevi/fontana_di_trevi_3.jpeg 258022e9c035e46d30c9ca9ae89acaac Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana di Trevi Description An account of the resource The Trevi Fountain was originally commissioned in 1629 by Pope Urban VIII to replace an older fountain on the same spot. This fountain was commissioned to Gian Lorenzo Bernini, yet was left unfinished as Pope Urban VIII died in 1644. The fountain was ordered for this spot, as water from the Acqua Vergine came to an end at this location. The fountain remained unfinished until Pope Clement XII commissioned Nicola Salvi to create the new fountain in 1732. Salvi died before being able to finish the fountain and Giuseppe Panini became the ultimate architect to work on the fountain, ultimately finishing the project in 1762. The Trevi Fountain rests on the intersection of three streets and takes its name from “Tre Vie” meaning three ways. The fountain itself is remarkable in design. The central piece of Neptune/Oceanus was created by Pietro Bracci and stands impressively over the Piazza. He is atop a chariot pulled by sea horses and two figures of Tritons accompany him. Additionally, he is accompanied by the personifications of Abundance and Health. The Trevi Fountain stands proudly as an icon for the city of Rome and for all of Italy. The impressive fountain goes through 2,823,800 cubic feet of water everyday, roughly equivalent to 21,123,490 gallons of water, which is enough to fill 32 olympic sized swimming pools. In 2014-2015, it underwent a major period of reconstruction with funding from the brand Fendi in order to preserve the fountain. The Trevi Fountain is such a powerful iconography of the city, that it has its own myth that surrounds it. If you throw one coin into the fountain you will return to Rome, two coins means you return and find love, and three coins means you return, find love, and marry. All of the coins thrown into the fountain are donated to charity. This fountain is incredibly important for Roman life. As a central point of the city, it served as a gathering place, thus drawing in large crowds to the area. The history of the fountain is much debated, with limited documentation and differing ideas on whose ideas were actually used for the fountain. Analyzing the history of the Trevi Fountain is important, as this provides examples of how the fountain was constructed and on what basis. There was a competition for the design of the fountain, showing a desire for only the best to be represented. The Trevi Fountain was finished quite late and thus needed to create something unique that was unprecedented. Thus, Salvi chose a grandiose scale in which to create his fountain, allowing for a new centerpiece to be given to Rome. In relation to other fountains, the Trevi Fountain is on a much larger scale and thus is imposing. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Nicola Salvi Giuseppe Panini Source A related resource from which the described resource is derived Cooke, Hereward Lester. “The Documents Relating to the Fountain of Trevi.” The Art Bulletin 38, no. 3 (1956): 149–73. https://doi.org/10.2307/3047657. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Pinto, John A. The Trevi Fountain. Roma, Italy: E. de Rosa, 1999. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Publisher An entity responsible for making the resource available Pope Urban VIII Pope Clement XII Date A point or period of time associated with an event in the lifecycle of the resource 1762 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Travertine, 26 meters high by 49 meters wide Type The nature or genre of the resource Fountain and Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_della_Barcaccia/Fontana_della_Barcaccia.jpeg 04f7a2109e4bf56a5dffdfbef48d4abe https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_della_Barcaccia/fontana_della_barcaccia_2.jpeg bd12459c723d0538fb95cbe2707dac27 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana della Barcaccia Description An account of the resource The Fontana della Barcaccia or the Fountain of the Old Boat was commissioned by Pope Urban VIII in 1627. He chose Pietro Bernini and his son, Gian Lorenzo Bernini, to create a fountain at this location. The duo created a fountain that pays homage to the flood of the Tiber River in 1598 that occurred in Rome. During the flood, the streets were underwater, and the only way to navigate was by boat. Following the flood, a boat was supposedly found in the middle of the square at the Piazza di Spagna. This was the inspiration for the Bernini men to create their fountain. The fountain was finished in 1629, The fountain itself consists of a boat submerged partially underwater. The boat is filled with water and has two spouts on either side of the boat where water leaks into the basin below. The boat is constantly being refilled with water pumped out of the faces on either side of the boat and with a spring in the middle of the fountain. The water seems to trickle down the whole piece in a way; it is not this grandiose display of high rising water, but rather a smaller flow. The Baroque piece is crafted out of travertine, a type of limestone that is vastly abundant in the area. It is one of the first major works for Gian Lorenzo Bernini, who would eventually go on to design churches, fountains, and larger pieces of art that would become renowned. The Fontana della Barcaccia is found at the foot of the Spanish Steps. This positioning transforms the fountain into an iconographic piece of Rome. It’s position allows it to be frequented by tourists and popularized. The fountain is very important for the city, as it has such a rich history to it and is recognizable as a piece of Rome. The fountain has been vandalized in 2007 and 2015, but has undergone restoration periods after each vandalization. The shape of the fountain is important to its creation, as ship fountains have been around for a long period of time. Ships have been used as symbols of not only water, but of life voyages, and additionally ones of hope. While the fountain was not mandated to be one of a ship, the Bernini men chose to create one such fountain. Boats have also been symbols of christianity, from Noah’s Ark to the Navicella. Commissioned by the Pope, the boat was most likely chosen as a symbol of many things, one of the major ones being christianity and the dominance of the church. Being constructed before the Spanish Steps in the same piazza, this fountain was most likely the focal point of the piazza, creating a conversation and enacting a quieter dominance of the region. The Piazza di Spagna was also home to the Spanish embassy, so it is possible that the Fontana della Barcaccia was seen as an homage to the Spanish and their efforts with promoting Catholicism. Creator An entity primarily responsible for making the resource Pietro Bernini Gian Lorenzo Bernini Source A related resource from which the described resource is derived The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Hibbard, Howard, and Irma Jaffe. “Bernini’s Barcaccia.” The Burlington Magazine 106, no. 733 (1964): 159–75. http://www.jstor.org/stable/874272. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Publisher An entity responsible for making the resource available Pope Urban VIII Date A point or period of time associated with an event in the lifecycle of the resource 1629 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Travertine Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_del_Tritone/fontana_del_tritone.jpeg 6160baf54b5d56f5d276cc257e744a2a https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_del_Tritone/fontana_del_tritone_2.jpeg e3296a65912579a5b974750dbd9e43c8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana del Tritone Description An account of the resource The Fontana del Tritone stands in the middle of the Piazza Barberini. This fountain takes water from the Acqua Felice in order to create this beautiful and powerful piece of art. The fountain was commissioned by Pope Urban VIII, and was the last commissioned piece that Gian Lorenzo Bernini was to accomplish for the Pope before the Pope’s death in 1644. The fountain was completed between 1642 and 1643, in homage to the Barberini family of which Pope Urban VIII was a member. The fountain was built to provide water from the aqueduct to the people as well, with an innovative twist. The free-standing design of the fountain was relatively new to the city scape and thus altered the focal landscape of Rome. The fountain rises into the sky with the god Triton sitting atop of it in a merman state. He is blowing a conch shell with water spouting from the conch into the basin below them. He is held up by dolphins, with which lie the papal keys and the Barberini family bees. This piece pays great homage to Pope Urban VIII and his family, as they were frequent patrons for Bernini. This iconic fountain of Rome creates quite the visual spectacle as water sprays skywards from the conch and the viewers’ eyes are drawn up to the massive figure of Triton resting on a shell. Overtime, the context of the Fontana del Tritone has been greatly altered. At the time of construction, it was surrounded by many buildings with fewer floors, so that it was seen as a grandiose display of power, and from far away. Nowadays, there are many taller buildings that surround the piazza and tower over the fountain. Yet, the fountain is still seen as an impressive Baroque display. The fountain has undergone many restorations since its establishment in the piazza. One such restoration occurred in 1932, when the workers revealed the original statue from underneath so many layers of grime that citizens believed the statue to be a replica. The Fontana del Tritone greatly conversed with its landscape and the other fountains in nearby areas. The fountain has been argued to be a commentary on the victory of the Thirty Years’ War and Catholic dominance. Additionally, the fountain is paying homage to the life of Urban VIII, with the symbol of a god representing the immortality of Urban VIII and the Barberini’s legacy on Rome and the world. While this may be an interesting choice as it is not a Christian symbol, it can represent the dominance of Rome and reinvigorate the power of the Roman Empire. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Source A related resource from which the described resource is derived Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. “Fontana Del Tritone.” Fontana del Tritone by Gian Lorenzo Bernini. Accessed October 13, 2021. http://www.gianlorenzobernini.org/fontana-del-tritone/. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Gray, Gustave Le, and Firmin-Eugène Le Dien. “Bernini’s Triton Fountain, Ca. 1852–53.” City of the Soul, 2016, 102–4. https://doi.org/10.2307/j.ctv1xx9k9w.36. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Publisher An entity responsible for making the resource available Pope Urban VIII Date A point or period of time associated with an event in the lifecycle of the resource 1643 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Travertine Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_delle_Tartarughe/fontana_delle_tartarughe.jpeg fce8e82bca1fbcc4a2a7391a5455be1d https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_delle_Tartarughe/Fontana_delle_tartarughe_2.jpeg a4ddfc4fb41085ac1b155b13138eb4c0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana delle Tartarughe Description An account of the resource The Fontana delle Tartarughe is famous for the turtles that adorn the fountain. Yet these were not a part of the original design, but added later into the fountain. With water from the Acqua Vergine, the fountain was made to bring water to the people. Designed by Giacomo della Porta and Taddeo Landini, the fountain came into fruition in 1585. Unlike many of the other fountains discussed, the Fontana delle Tartarughe was not commissioned by the papacy, but rather by a private patron. Located in the aptly named Piazza Mattei, the fountain was commissioned by Muzio Mattei. The fountain itself consists of a large basin that rests atop a central pillar. This basin appears to be held up by four bronze statues of men, yet the statues do not touch the bottom of the basin. Landini was the sculptor behind the four statues. The four men have an arm stretched upwards to give the appearance they are reaching for the basin. In the original design, there were no turtles, but nowadays a turtle can be spotted climbing into the basin from each man’s hands. Each man rests his foot atop the head of a dolphin, where water spews from their mouths. The water collects in four small pools held in granite at the base of the dolphins, before cascading over the edge of these smaller basins into the large base of the fountain. The fountain comes rich with legend. One tale states that Mattei ordered the fountain to be built in a single night in order to impress the father of a woman he wished to marry. The father approves, as he is impressed by the grandiose act. This fountain is extremely important to analyze, as it was not commissioned by a Pope. As a piece of private commission, it exists outside the realm of the papacy and thus outside of the Catholic reign. However, the Mattei were still Catholics and thus religion may have impacted the foundation of the fountain. Also, the fountain most likely represents the power of the Mattei family. As one of the only families with a grandiose fountain commissioned by them, the fountain represents their grand power and their strength. While seemingly a simple fountain, the fountain holds many meanings. Creator An entity primarily responsible for making the resource Giacomo della Porta Taddeo Landini Source A related resource from which the described resource is derived Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Togstad, Anne Kristine. “Fontana Delle Tartarughe : The Iconography of a Roman Fountain.” University of Oslo, 2005. Publisher An entity responsible for making the resource available Muzio Mattei Date A point or period of time associated with an event in the lifecycle of the resource 1585 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Bronze and travertine Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza Mattei, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_dell_Acqua_Paola/fontana_dell_acqua_paola.jpeg ee3494066d2996ea7e29cab98a6dd959 https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_dell_Acqua_Paola/fontana_dell_acqua_paola_2.jpeg 9221797a752bd733f20fe32948ed3cc0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana dell'Acqua Paola Description An account of the resource This fountain, built in 1612, celebrates the great engineering feat of Roman aqueducts. Marking the end of the Acqua Paola, the Fontana dell’Acqua Paola celebrates Paul V and his impact on the area. Restoring the existing aqueduct, Pope Paul V created a way for citizens of the Janiculum Hill to get easy access to water, without having to drink the polluted Tiber water. There have been issues with attribution of the fountain, but it was most likely done by Giovanni Fontana and/or Flaminio Ponzio. In the creation of the fountain, the architects needed a grandiose display of Paul V’s legacy. Thus they created the Fontana dell’Acqua Paola. Resting atop the Janiculum Hill, this fountain is quite an imposing site. Taking inspiration from the preceding Fontana dell’Acqua Felice, the Fontana dell’Acqua Paola contains many similar themes. The fountains both have a shared arch structure, with the Fontana dell’Acqua Paola containing five arches, three large and two smaller, flanking either side. The focus of this fountain is most definitely on the water itself, as no statuary decorates the fountain. This fountain contains a large facade, so that the arches fit into a greater structure. Atop the arches lies an inscription that dedicates the fountain to Pope Paul V. The water seems to gush from the walls in between the columns of the arches, pouring into basins that lie below. The bottom basin that catches all of the overflow was added in 1690 by Carlo Fontana. This fountain served the role of providing water to the people. For the people of the Janiculum Hill and beyond, trekking to get water from the Tiber or the other aqueducts was the only option for a long time. Yet the Acqua Paola provided a cleaner, easier source of water. Yet had this been the only purpose, the aqueduct would have simply ended, with no fountain. The fountain celebrates many things, especially the papacy. Pope Paul V wanted his legacy remembered for bringing water to the people. Lying on top of a hill, the fountain is very visible in many areas of the cityscape. It stands out, as it stands alone, not built into a piazza or resting in the facade of a building. Additionally, besides holding similarities to the Fontana dell’Acqua Felice, this fountain has many similarities to the Fontana di Trevi. Thus, it is most likely that these two fountains inspired the Fontana di Trevi and were held in high regard by many. Fountains bring art to the people, putting them in public spaces where they are easily accessible. The Fontana dell’Acqua Paola does this to an extreme. By placing the fountain atop of a hill it not only makes it visible to many people for a greater area, but also gives off the impression of the fountain and in extension the dominance of the papacy towering over the viewer. Creator An entity primarily responsible for making the resource Giovanni Fontana Flaminio Ponzio Source A related resource from which the described resource is derived Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Heilmann, Christoph H. “Acqua Paola and the Urban Planning of Paul V Borghese.” The Burlington Magazine 112, no. 811 (October 1970): 656–63. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Publisher An entity responsible for making the resource available Pope Paul V Date A point or period of time associated with an event in the lifecycle of the resource 1612 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Granite Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Janiculum Hill, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_del_Nettuno/Fontana_del_Nettuno.jpeg 04ac5e77f11d39ded44359de2679faaa https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_del_Nettuno/Fontana_del_Nettuno_2.jpeg 4597ffc6513bdeb3643723ea88265036 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana del Nettuno Description An account of the resource The Fontana del Nettuno is one of many fountains that adorn Piazza Navona. Located on one side of the central Fontana dei Quattro Fiumi, the Fontana del Nettuno has a quiet presence to it. The fountain was built in 1574 by Giacomo della Porta, commissioned by Pope Gregory XIII. This was the first fountain in the Piazza Navona, followed a year later by the Fontana del Moro on the opposite side of the piazza. The two fountains were both very simplistic in design. The Fontana del Nettuno was originally just created with a central spray of water and a large basin. This fountain was made possible due to the restoration of the Acqua Vergine. The fountain looks much different nowadays than it did in its original creation. In its origin, the fountain consisted just of a central basin and water feature, without decorative statues. The Fontana del Nettuno, one of many fountains in Italy with the same name, got its name from the central statue of Neptune that was added in 1878. Created by Antonio della Bitta, the central figure of Neptune stands with his body angled, as he is twisting with movement. Below him rests an octopus. The statue captures the moment in which Neptune is stabbing the octopus with a spear and establishing his dominance over the sea and all of its creatures. There are additional statues added by Gregorio Zappalà in 1873. These statues rest in the basin of the fountain and surround Neptune. Figures of Nereids, mythical creatures, horses, and aquatic animals rest around the basin. In its creation, this fountain was unlike many of the others in this exhibition. Rather than creating an exquisite, elaborate display of power, the fountain held a much simpler purpose. With the Palazzo Pamphili not quite constructed, the piazza was not surrounded by exuberant architecture and thus was merely a public gathering space. Rather than create an expensive yet beautiful fountain, Pope Gregory XIII created a functional fountain. The statues that were later added were there to balance out the Fontana dei Quattro Fiumi and the Fontana del Moro. But with both of those fountains created after the Fontana del Nettuno, there was no need to create a grandiose display of power. Popes create large fountains to be remembered, and thus they place them in areas of prominence. At the time, the Piazza Navona was not such an area. Therefore a fountain was made to bring water from the aqueduct to the people and to have a smaller display of engineering feats in the piazza. Creator An entity primarily responsible for making the resource Giacomo della Porta Antonio della Bitta Gregorio Zappalà Source A related resource from which the described resource is derived Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Zucker, Paul. “Space and Movement in High Baroque City Planning.” Journal of the Society of Architectural Historians 14, no. 1 (1955): 8–13. https://doi.org/10.2307/987716. Publisher An entity responsible for making the resource available Pope Gregory XIII Date A point or period of time associated with an event in the lifecycle of the resource 1574 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource White marble Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza Navona, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_dell_Acqua_Felice/Fontana_dell_acqua_felice.jpeg 153f1104fd043a5a099f753b5375da5f https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_dell_Acqua_Felice/fontana_dell_acqua_felice_2.jpeg 92a02b07a760c58f389bd5eab048b03a https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_dell_Acqua_Felice/fontana_dell_acqua_felice_3.jpeg 7028c8a877c31f97c31d1332c8122541 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana dell'Acqua Felice Description An account of the resource The Fontana dell’Acqua Felice was revolutionary at its creation. It marks the terminal point of the Acqua Felice, restored by Pope Sixtus V. Originally the Acqua Alessandrina, the aqueduct was renamed by Pope Sixtus V after its restoration. At the time, the only water source for many of Rome’s citizens was the water from the Acqua Vergine. Thus, in Sixtus V’s many alterations to the city, he restored the Acqua Felice and commissioned the Fontana dell’Acqua Felice. The construction of the aqueduct took multiple efforts, as there were many problems upon initial attempts. The fountain was constructed in 1587 by Domenico Fontana. The large fountain celebrates the transportation of water and the role of Sixtus V. The fountain itself is also called the Fountain of Moses due to the statue in the middle. The fountain consists of three equally sized archways inset into a wall. This fountain has a large basin at the bottom to collect the water, along with three smaller basins attached to the wall in between the three arches, from which the water pours. Above this smaller basin in the middle niche stands a towering statue of Moses created by Leonardo Sormani and Prospero da Brescia. Known for his biblical role of parting the red sea and striking a rock to enable the flow of water, Moses appears to be doing the latter, making the water appear. On the side niches, there are two etchings. They are believed to be either biblical in nature or relating to ancient Roman times and the founding of the Acqua Alessandrina. The Fontana dell’Acqua Felice highlights the power of the pope in many ways. Above the fountain there is an inscription dedicated to Sixtus V and the work he did. Not only did he commission the fountain, creating a magnificent spectacle and a piece of pride for the Catholic church, he also brought water to the people. In establishing the Acqua Felice, Pope Sixtus V exercised his power to help the Roman citizens that were without an easy water source. This fountain is a very important fountain. It created a standard that inspired the Fontana dell’Acqua Paola and the Fontana di Trevi. Both of these fountains harness the same styles and similar architecture as seen in the Fontana dell’Acqua Felice. This fountain takes a classical style and revamps it to fit in the Baroque era, with Christian imagery. Besides simply being a source of water for people, showing off the power of the pope, spreading Catholicism, and inspiring future churches, the Fontana dell’Acqua Felice also created a landmark for Rome. The fountain is massive, standing tall over the road in front of it. Surrounded by churches and modern political buildings, it is likely this church was placed in a highly populated area with moderate affluence. Creator An entity primarily responsible for making the resource Domenico Fontana Source A related resource from which the described resource is derived Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. Dennis, Kimberly. “Camilla Peretti, Sixtus V, and the Construction of Peretti Family Identity in Counter-Reformation Rome.” The Sixteenth Century Journal 43, no. 1 (2012): 71–101. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Zucker, Paul. “Space and Movement in High Baroque City Planning.” Journal of the Society of Architectural Historians 14, no. 1 (1955): 8–13. https://doi.org/10.2307/987716. Publisher An entity responsible for making the resource available Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 1587 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Granite and stone Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_del_Moro/Fontana_del_Moro.jpeg e45472772934bf0fe648c65faa2ea7cc https://www.baroque.dahvc.org/fall-2021/files/original/Roman_Fountains/Fontana_del_Moro/Fontana_del_Moro_2.jpeg 61f0b255b0afe46e4bbb08d3104b94db Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Roman Fountains Contributor An entity responsible for making contributions to the resource Jacob Carnes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana del Moro Description An account of the resource Located on the opposite side of the Piazza Navona as the Fontana del Nettuno, the Fontana del Moro creates a highly interesting dialogue. The Fontana del Moro, while not as famous as the central Fontana dei Quattro Fiumi in the Piazza Navona, manages to create an important story to be read across the piazza. Built by Giacomo della Porta in 1575, the fountain served as a relatively simple sculpture. The second fountain built in the Piazza Navona, the Fontana del Moro served to directly mimic the Fontana del Nettuno. Commissioned by Pope Gregory XIII, the fountain was relatively simple upon its initial creation. Consisting of a smaller basin atop a large basin, the fountain created a beautiful sense of flow. The basins are crafted from pietra santa, which is the same marble used in the doorway of Saint Peter’s. The fountain, similar to the Fontana del Nettuno, is much larger horizontally than it is vertically. These two fountains thus contrast the obelisk that towers over the piazza in the Fontana dei Quattro Fiumi. Four faces sit atop the wall of the upper basin, each flanked by fish and dolphins, spewing water from the top basin into the lower one. The upper basin also consists of four tritons, blowing into seashells causing water to spew out of them. These four tritons were created by disciples of della Porta including Egidio Della Riviera, Taddeo Landini, Simone Moschini and Giacobbe Silla Longhi. The central figure of the fountain is what earned the fountain its name. It was added later, in 1653, by Bernini to create a more dynamic sculpture. The figure is said to represent an additional triton from Africa that is wrestling with a dolphin. The Fontana del Moro most likely had its addition of the central figure to counteract the grandiose Fontana dei Quattro Fiumi that was built just two years prior. All three of these fountains create dialogue that brings the viewer's eyes to the center and to the towering Fontana dei Quattro Fiumi. Each fountain has a distinctive role in this. The Fontana del Moro was established to counterbalance the piazza with the Fontana del Nettuno. The fountains were built to be relatively simple, yet decorative and magnificent in their simplicity. Only later on were each of the central figures added to the fountains. At times of the city’s history, the fountains were used as watering troughs for horses, along with providing water to the people. The fountains have always been important in their roles, with a range of purposes over history, most of them overlapping and intertwining. The Fontana del Moro remains an impressive fountain as it was in its foundation, establishing a sense of authority over the area and recalling the great triumphs of the Roman Empire through allusions to mythology. Creator An entity primarily responsible for making the resource Giacomo della Porta Gian Lorenzo Bernini Source A related resource from which the described resource is derived Bianco, Marcella. “Il Legame Tra Piazza Fontana e Il ‘Golpe Borghese’ Nelle Recenti Indagini Giudiziarie.” Studi Storici 41, no. 1 (2000): 37–60. Connors, Joseph. Alliance and Enmity in Roman Baroque Urbanism. Rome, Italy: Bibliotheca Hertziana, 1989. The Fountains of Rome, 1986. https://fod-infobase-com.proxy.lib.duke.edu/p_ViewVideo.aspx?xtid=2150. Pulvers, Marvin. Roman Fountains: 2000 Fountains in Rome: A Complete Collection. Rome, Italy: L'Erma di Bretschneider, 2002. Respighi, Ottorino, Tadaaki Otaka, and Patrick Thomas. CD. The Fountains of Rome. BBC Music Magazine, n.d. Zucker, Paul. “Space and Movement in High Baroque City Planning.” Journal of the Society of Architectural Historians 14, no. 1 (1955): 8–13. https://doi.org/10.2307/987716. Publisher An entity responsible for making the resource available Pope Gregory XIII Date A point or period of time associated with an event in the lifecycle of the resource 1575 Contributor An entity responsible for making contributions to the resource Jacob Carnes Format The file format, physical medium, or dimensions of the resource Pietra Santa and marble Type The nature or genre of the resource Fountain Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza Navona, Rome, Italy