Enclosed between narrow streets and leaning against the facade of Palazzo Poli, the Trevi Fountain stands as a grand fusion of sculpture and architecture. It forms a captivating scene that collects the waters of the ancient Roman aqueduct, the Acqua Vergine.
A System with Ancient Origins
From the very beginning, many architects pursued involvement in the Trevi Fountain project, which traces its origins to an ancient system dating back to the era of Augustus. This system specifically carried water from the Aniene River into the Campo Marzio area to supply the baths that Marcus Vipsanius Agrippa designed. Known as the Acqueduct of the Acqua Vergine, the system and its city outlet underwent numerous reworkings over the centuries. As a result, architects proposed various projects, especially during the Baroque period, to finally give the fountain a majestic form.
Design Competition and Pope Clement XII’s Vision
Over time, several popes oversaw the project. They notably consulted architects like Gian Lorenzo Bernini and Carlo Fontana. The Academy of Saint Luke also became involved, dedicating several competitions to the subject. However, progress did not truly advance until the 1730s when Pope Clement XII intervened. During this period, Rome experienced renewed architectural efforts after a stagnation at the end of the late Baroque era. Architects vigorously resumed many unfinished projects, which ultimately led to sublime works such as the Spanish Steps. Pope Clement XII organized a competition featuring designs by Fuga, Vanvitelli, and Nicola Salvi. Salvi won by adhering to Pietro da Cortona’s theme of blending the palace facade with the fountain and incorporating Bernini’s concept of narrating the Acqua Vergine’s history through complex sculptures and decorations. Nevertheless, Pope Clement XII did not live to see the Trevi Fountain’s completion, as it took until 1762.

The Fountain’s Artistic Composition
Nicola Salvi undoubtedly created one of his masterpieces with the Trevi Fountain. He showcases a rare strength in its composition of late classical Baroque. This style neither formalizes Bernini’s approach nor fully evolves into Neoclassicism. The rectangular basin, with its rounded corners, fills the square with imposing grandeur and embodies the perfect memory of the Baroque. Salvi seamlessly merges the fountain with the palace facade using a complex arrangement of travertine rocks and sculptural allegories.
Salvi centers the work around the theme of the sea. In the large niche at the center, Pietro Bracci crafted the statue of Oceanus. He commands two winged horses, symbolizing the contrasting spirits of the sea, whether calm or stormy.
Style
The statues within the two smaller niches represent Health and Abundance. Additionally, Salvi incorporates clear Rococo elements, such as Neptune’s shell. Yet, he preserves distinctly classical features in the overall structure. Salvi cleverly blends the palace facade with a triumphal arch, giant Corinthian pilasters, and columns. He also interrupts isolated fragments of the entablature with windows. Through this composition, Salvi creates a dialogue between Palladio and the most refined Roman Baroque.
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