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Fountain of Trevi

Fountain of Trevi
Fountain of Trevi

This fountain contains the famous virgin water which Agrippa, son-in-law of Augustus, conveyed to Rome for the use of his baths, behind the Pantheon; jits name is derived from a young girl, who shewed the spring to some thirsty soldiers. This precious water takes its rise about eight miles from Rome, between the roads of Tivoli and Palestrina, in the field of Salone; the conduit, which is subterraneous, and fourteen miles long, was repaired by Claudius and Trajan. This aqueduct runs towards the Lamentano bridge, inclines to the left, passes the villa Borghese and Medici, and reaches the foot of the Trinity of the mount, where it divides into two branches, of which, one runs to this fountain, and the other takes its direction to the Strada-Condotti, and is distributed over the whole city. The name of Trevi has been given to this fountain, because, the one made by Nicholas V., in the same place, had three mouths: Clement XII., wishing to give it the grandeur and majesty of the other Roman edifices, entirely altered its form, from the designs of Nicholas Salvi, who adorned it with statues and basso relievos of stucco, which Clement XIII. afterwards replaced with marble ones, to render it still more sumptuous and magnificent.

The side front of the Conti (now Boncompagni) palace, is before this fountain; it is ornamented with four columns, and six Corinthian pilasters, between which are two rows of windows; between the columns are two basso relievos; and above the entablature is an attic order, decorated with four statues, and tiie armour of Clement XII. The water flows abundantly from a pile of rock, into a large marble basin. The great niche in the middle, is decorated with four columns, and a colossal statue, representing the Ocean, standing on a car formed of sea shells, drawn by two sea horses, and guided by two Tritons: this sculpture is by Peter Braoci. In the side niches are the statues of Salubrity and Abundance, by Philip Valle; on which are two basso relievos, representing Marcus Agrippa, and the young girl, who discovered the source of this iwater, sculptured by Andrew Bergondi and John Grossi. The four statues on the entablature relate to Twral objects, via.:— the fertility of the country; the abundance of aur tumn, &c.

A new Picture of Rome, and its Environs, in the form of an Itinerary: With ...

Mariano Vasi - 1819

NICCOLO SALVI, A Roman,

(Born 1699, died 1751,)

His most stupendous work was the fountain of Trevi. Pope Clement XII. was desirous of embellishing Rome with an ornament worthy of the city; but he had not the courage to place it in the most advantageous situation; and Unfortunately, that selected has never been improved to the present day, which might have been done by removing the buildings, and converting it into a regular and elegant square. The Ocean is represented by a gigantic figure standing on a shell, drawn by two marine horses, guided by Tritons. These are in the midst of an immense mass of rock, from whence the water flows in various ways. In the' centre is a beautiful niche with Ionic columns, from which niche the principal figure appears to issue. Oh each side are two Corinthian columns, which contain two stories; and between the intercolumniations are two statues and bas-reliefs. Over the entablature are four statues, plumb with the four columns. Above, there is an attic with the arms of pope Corsini, and a balustrade at the sides; and receding a little on -each side are four Corinthian columns, containing two orders of windows; and over the entablature is an attic, lower than that of the centre, with small windows, between which are festoons. This fountain is superb, magnificent, and rich, and may justly be considered as the best work produced at Rome during this century. The learned, however, discover many defects.

1st. That the water, which is the principal object of a fountain, instead of being conspicuous, is too much divided into small streams which issue from the cavities of the rocks ; so that there is not one point from whence it may be seen in full majesty : and this objection has been still further increased by some marble tazzas lately placed in the centre, from which the water falls with a gentle murmuring noise. 2d. The rocks resemble an enormous collection of stones, heaped one on the other, and occupying too much space. 3d. That there is extreme inconsistency in having a rough basement of rock to support so slight and elegant an order as the Corinthian. 4th. That the niche adorned with Ionic columns and other embellishments in the soffite, is by no means proper to contain Oceanus. 6th. The Ionic columns of the niche are, in comparison with the Corinthian, like dwarfs by the side of giants. 6th. That the Corinthian columns perform no positive office. 7th. That the half pilasters proceeding from their sides, produce a confusion of capitals. 8th. The upper Corinthian ornaments have dentils like the Ionic. 9th. The cornice to the impost of the soffite of the niche runs through the facade, and is cut by the Corinthian columns and pilasters. 10th. The windows, with all their balustrades, are suspended without any support, llth. The upper windows are higher than the Corinthian capitals, and consequently cut the architrave and frieze of the order. 12th. That the pediments to the windows of the first story are very proper; but those attached to the windows immediately under the entabltaurc appear of no use: with a variety of other objections, too numerous to mention.

Tales about Rome and modern Italy - Old Humphrey - 1839

Church of St. Vincent and St. Anastasius

Chiesa di Sant'Anastasio de Trivio (SS. Vincenzo ed Anastasio a Trevi)

In the square of this fountain, is the church of St. Vincent and St. Anastasius, built from the designs of Martin Lunghi, junior; the front is decorated with two rows of pillars, Corinthian and Composite.

A new Picture of Rome, and its Environs, in the form of an Itinerary: With ...

Mariano Vasi - 1819

PALAZZO DI SCIARRA,

The fine architecture of this palace is by Flaminio Ponzio, except the great Gate, which is either by Antonio Labacco, or Vignola. There are a number of paintings here by the best masters, belonging to Prince Barberini, who is the owner of this palace. The most distinguished are, a fine copy of Raphael's celebrated picture of the Transfiguration, by Mr. Valentino; some Landscapes, by Mr. Both; a Moses, by Guido Reni; the Descent from the Cross, by Baroccio; Noah drunk, by Andrew Sacchi; a Mary Magdalen, by Guido; three portraits, by Titian; a St. James, by Guercino; a half-length Magdalen, by Guido; the three players; a celebrated work, by Caravaggio; Modesty and Vanity, an exquisite painting, by Leonardo da Vinci; two Evangelists, by Guercino; the decapitation of St. John the Baptist, by Giorgione ; and a portrait, capitally painted by the great Raphael.

On the ground-floor are several antique marbles, amongst others, a Sarcophagus, with a basso relievo, representing the Muses; a fine figure of a priestess; a statue of M. Aurelius; a superb one of Septimius Severus, in bronze; a Ceres; a Bacchus; three colossal busts ; five Egyptian figures; an Amazon; and a fine Diana.