Museo: Fontana di Trevi

Trevi Square

Welcome to Piazza di Trevi, the magnificent prelude to Rome's most famous fountain. This square, unfolding like a natural amphitheater before the baroque masterpiece, is not merely an urban space but a true monumental stage. Its irregular shape is no accident: it developed over the centuries around the ancient castellum aquae, the terminal of the Acquedotto Vergine (Aqua Virgo), constructed in 19 BC by Marcus Vipsanius Agrippa, the son-in-law of Augustus, to supply his baths near the Pantheon. This aqueduct is still functional: the water you see flowing comes from the springs of the Roman countryside, about 20 km from here. The square takes its name from the Latin trivium, which referred to the intersection of three streets in Roman times, and maintains a uniquely dramatic disposition to this day. The buildings surrounding it are arranged like theater wings around the fountain, in an architectural embrace that enhances its grandeur. In particular, the Palazzo Poli dominates the background with its monumental façade, which Nicola Salvi transformed into a scenic backdrop perfectly integrated with the fountain's composition. From this privileged vantage point, you can admire the Trevi Fountain in its entirety: a triumph of sculpture, architecture, and water, completed in 1762 based on Salvi's design and later refined by Giuseppe Pannini. It is the ultimate example of Roman baroque, where every element is designed to engage the viewer, move them, and guide their gaze. The central theme celebrates the power and abundance of water. In the center stands the statue of Oceanus—not Neptune, as often thought—on his shell-shaped chariot drawn by two sea horses: one calm, the other unruly, symbols of the dual nature of the sea. The tritons guiding them add to the scene's dynamism, reinforced by the continuous sound of flowing water. Take a moment to listen: it is not mere background noise but an integral part of the baroque experience. The roar of the central waterfall alternates with the whispers of the lateral jets, creating a true liquid symphony. The light—natural by day, artificial by night—plays with the water and marble surfaces, creating ever-changing reflections and glimmers. Despite the crowd, this square retains a sense of collectiveness, almost a collective devotion to this temple of water. In the 18th century, after the completion of the fountain, it quickly became a focal point of Roman social life and an essential stop on the European Grand Tour.

Palazzo Poli

Behind the monumental Trevi Fountain stands the imposing Palazzo Poli, an extraordinary example of Baroque architecture that serves as a scenic backdrop to the hydraulic masterpiece by Nicola Salvi. This elegant building, which today houses the National Institute for Graphics, was redesigned by the renowned architect Luigi Vanvitelli around the mid-18th century, simultaneously with the construction of the fountain. The palace's façade, characterized by a harmonious and solemn design, extends 20 meters in height and 49 meters in width, offering the perfect monumental frame for the sculptures and water displays below. Before Vanvitelli's intervention, the property belonged to the Poli family, from whom the palace takes its name, acquired in 1620 by the Duke of Ceri, Orazio Ludovisi. Vanvitelli's genius lay in his ability to conceive of a building that not only seamlessly integrated with the fountain but also amplified its theatricality and visual impact. The architect, also known for designing the Royal Palace of Caserta, created an architecture that seems to almost emerge from the water itself, with a play of proportions that emphasizes the monumentality of the entire composition. The large windows, elegant moldings, and compositional rigor of the façade reveal the hand of a master of late Italian Baroque, capable of balancing magnificence and harmony. Palazzo Poli thus represents not only a scenic backdrop for the fountain but also a highly valuable architectural work that completes and enhances one of the most iconic places in Rome.

The Fountain's Facade

Observing the façade of the Trevi Fountain up close, one fully grasps the artistic vision that merges architecture and sculpture. The entire complex measures 26 meters in height and 49 meters in width and is entirely made of travertine, the stone typical of grand Roman architecture. The project was entrusted in 1732 to Nicola Salvi, winner of the competition announced by Pope Clement XII. After Salvi's death in 1751, the works were completed in 1762 by Giuseppe Pannini, who faithfully adhered to the original design. The central composition is inspired by the triumphal arches of ancient Rome: at the center stands the figure of Oceanus (a work by Pietro Bracci), dominating a vast basin of water. To his sides, the statues of Abundance and Health symbolize the benefits of water. Above, the attic bears a large inscription dedicated to Clement XII and four allegorical statues representing the virtues related to water: Fertility, Abundance of Harvests, Wealth, and Beauty. The side niches house reliefs illustrating two episodes related to the Aqua Virgo: the discovery of the source by a virgin (hence the name) and the construction of the aqueduct by the Roman soldiers. Everything contributes to a visual and symbolic narrative that exalts water as a divine gift, a vital resource, and a sign of civilization.

The God Oceanus

Here before you stands the dominant figure of the entire Trevi Fountain: the mighty Oceanus, the undisputed protagonist of this Baroque masterpiece. Sculpted by Pietro Bracci in 1762, this imposing statue, nearly 6 meters tall, represents the sea deity in all its majesty. Oceanus advances on a chariot shaped like a shell, drawn by two sea horses—one calm and the other restless—each guided by tritons. This dichotomy symbolizes the dual nature of the sea: sometimes serene, sometimes stormy. Take a close look at Oceanus's posture: his right arm is extended in an authoritative gesture, as if to calm the waters, while his serene yet commanding gaze is directed towards the horizon. The drapery that partially wraps around his muscular body seems to be stirred by sea currents, creating an effect of extraordinary dynamism. The figure of Oceanus perfectly embodies the Baroque ideal of motion frozen in stone. Nicola Salvi, the designer of the fountain, intended to represent not the god Neptune, as often mistakenly noted, but Oceanus as the personification of all the world's waters. The statue is strategically positioned at the center of the triumphal arch of Palazzo Poli, emphasizing its role as a link between the terrestrial and aquatic worlds. This magnificent Oceanus is the culmination of the fountain's mythological narrative, celebrating water as a vital and purifying element, as well as a primordial force from which everything originates.

The Dynamism of the Tritons and Hippocamps

Shifting your gaze to the base of the fountain, you can observe two mirroring but dynamic scenes: depicting mighty mythological figures emerging from the tumultuous waters of the basin. The Tritons, creatures half human and half fish, are depicted here in the act of taming sea horses, the Hippocampi, symbols of the untamable power of the waters. In classical mythology, the Tritons were the sons of Poseidon and Amphitrite, marine deities who accompanied the entourage of the god of the sea, blowing into shells to announce his arrival. The sculptor Pietro Bracci, under the direction of Nicola Salvi, sought to represent here the dual nature of the waters: a wild force that requires guidance and a vital resource for the city. The Tritons of the Trevi Fountain perfectly embody this dualism, showing how man can coexist with untamed nature through respect and wisdom. Notice the extraordinary anatomical rendition of these figures: muscles tensed in the effort to control the impetuous marine steeds, faces focused and determined, scaly tails blending with the waves. Every detail contributes to creating a sense of perpetual motion, as if these creatures are emerging right now from the marine depths to reveal themselves to our eyes.

The Bas-Reliefs: The Legend of Acqua Vergine

Now take a moment to observe the upper part of the fountain: here you can admire two exquisite bas-reliefs depicting the legend that underlies the entire Trevi Fountain. To the left, Giovanni Battista Maini's work portrays a young maiden showing a group of Roman soldiers the location where a water spring emerges. According to tradition, this episode took place in 19 BC during a military campaign led by Agrippa: the soldiers, exhausted from thirst, were guided to the spring by this mysterious maiden, giving rise to the name "Acqua Vergine" (Virgin Water). On the right, a second relief, sculpted by Andrea Bergondi, depicts Agrippa in the act of approving the aqueduct project intended to bring that very water into the heart of the city, to the Campo Marzio. These marble-carved scenes are not mere decorations: they are true visual narratives that celebrate the grandeur of Roman engineering and its impact on urban life. Completed in 1762, the bas-reliefs ideally unite Imperial Rome and Papal Rome, narrating a historical continuity that flows through water, the vital element of the city.

Abundance and Wholesomeness

Observing the monumental composition of the Trevi Fountain, your gaze is inevitably drawn to the two imposing female figures framing the central scene dominated by Oceanus. These statues are not mere decorative elements, but allegorical representations of fundamental importance: the Abundance and the Salubrity of the waters. On the left, Abundance, sculpted by Filippo Della Valle in 1735, is recognizable by the cornucopia overflowing with fruits that she holds in her hand, symbolizing the prosperity and wealth that water brings to the city. Her relaxed demeanor conveys well-being and serenity. On the right, Salubrity, created by the same sculptor, holds a cup from which a snake is drinking, recalling the rod of Asclepius, the god of medicine, symbolizing the beneficial and curative properties of pure water. These two female figures, with their sinuous forms and the flowing drapery typical of the Baroque style, create a perfect visual balance around the central scene. Positioned to visually balance the scene dominated by Oceanus, these figures also function as allegorical guardians of the water itself, reminding us that this resource is not only a natural element but a source of civilization, well-being, and health. By observing them closely, you can notice the mastery with which Della Valle infused expressiveness into the faces and movement into the bodies, creating figures that, despite their allegorical solemnity, appear lively and communicative.

Ancient Aqua Virgo Aqueduct

The water gushing from the Trevi Fountain is not merely a scenic element but the result of an extraordinary engineering feat: the Acqua Vergine, one of the eleven aqueducts of ancient Rome, inaugurated in 19 B.C. during the reign of Augustus. It was commissioned by Marcus Vipsanius Agrippa, the emperor's son-in-law and responsible for the city's hydraulic network. His goal? To supply his baths in the Campus Martius with clear and constant water. The name "Vergine" (Virgin) allegedly derives, according to legend, from a young girl who pointed out the source to a group of soldiers. The source is still located today near Salone, east of Rome. The aqueduct is distinguished by two exceptional features: its almost entirely underground route and minimal gradient, evidence of remarkable technical precision for the era. Over the centuries, the Acqua Vergine has been restored several times, particularly during the Renaissance, becoming an integral part of the city's beautification urban plans. Today, as you watch the water splash in the fountain, you are witnessing the end of a journey that began over two thousand years ago. The Acqua Vergine is not just a hydraulic wonder: it is an invisible thread linking ancient Rome to the contemporary city, a living symbol of the city's historical continuity.

The Great Basin and the Traditional Coin Toss

We are now standing before the heart of the Trevi Fountain: the grand central basin, an imposing pool approximately 20 meters wide, symbolizing the ocean tamed by man. The water flowing into it comes directly from the Acqua Vergine aqueduct, converging among the sculpted rocks and mythological figures in a continuous play of lights and reflections. Beyond its scenic function, this basin has become famous worldwide for a tradition that has turned into a ritual: the coin toss. According to this custom, which originated with the 1954 film "Three Coins in the Fountain," anyone who tosses a coin into the basin — strictly with the right hand over the left shoulder — is destined to return to Rome. Every year, over one and a half million euros are collected, intended for Caritas to help those in need: a symbolic gesture that transforms into concrete solidarity. In 2014, during restoration work, the basin was temporarily emptied, revealing a carpet of coins from all over the world. Those waters are silent witnesses to promises, desires, and hopes entrusted to the Eternal City. Observe how the sunlight or nighttime illumination create changing reflections on the water, bringing the sculptures to life in a continuous dialogue between art and nature. A scene that, every day, continues to fascinate visitors of all ages and origins.

Floral Patterns and the Study of Botany

The Trevi Fountain is not just a sculptural masterpiece but a refined example of classical architecture reinterpreted with the theatrical taste of Roman Baroque. Observing its imposing structure, the eye is immediately drawn to the large mythological figures and the dynamism of the water. But there is much more. Nicola Salvi, the architect who designed the fountain, conceived the entire composition as the façade of a scenic palace: the so-called "Palazzo dell'Oceano". Columns, niches, windows, and balconies alternate like an urban scenography, transforming the city space into a monumental open-air stage. The grand Corinthian columns framing the central scene are not merely decorative elements; they are true theatrical wings, designed to amplify the visual and symbolic effect of the work. The Corinthian order, the richest and most ornamental of the classical orders, is inspired by the legend of the Greek architect Callimachus, who is said to have devised the famous capitals by observing a basket surrounded by acanthus leaves. Indeed, the acanthus is one of the botanical elements most frequently encountered along the fountain. In fact, beyond the architecture and mythological sculpture, the Trevi Fountain hosts a true "stone garden". Among the artificial rocks that make up the backdrop, acanthus leaves, laurel branches, aquatic plants, and garlands of flowers emerge. These vegetal motifs are not just decorative but rich in meaning: the acanthus symbolizes rebirth, the laurel victory and glory, in homage to the tradition of ancient Rome. In the lower part of the fountain, near the basin, one can even discern marsh plants sculpted with such realism that they appear real. The 18th-century sculptors studied these natural elements with extreme attention, reproducing with incredible precision the veining of the leaves, the texture of the stems, and the fragility of the petals. In these minute details, the stone seems to transform into vegetation, as if moved by an invisible breeze. In this dialogue between architecture, nature, and symbolism, water becomes not only a scenic element but the true vital heart of the work, in perfect harmony with the Baroque soul of the monument.