Represented on the valves of a huge shell, with the erect torso and scaly legs of a sea monster, the Triton stands imposingly with his head bent back in an effort to blow into the large buccina (or twisted shell) that he supports with his arms raised upwards and from which the water that irrigates the whole work comes out copiously. Expression of the new Baroque conception of space, in the fountain the sculptural part includes and completely absorbs the same architectural structure: the shell on which the triton rests is in fact the upper basin of the fountain, and the baluster at the base is replaced by four dolphins with intertwined tails, between which are placed the papal coats of arms with bees, heraldic symbol of the Barberini family.
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Its original location was on the corner of Palazzo Soderini, between Piazza Barberini and Via Sistina. In one of the rooms on the ground floor of the building, Bernini had in fact designed a “booty” for water, that is, a system to collect the return water from the Triton fountain, which he had designed a few months earlier on commission from Pope Urban VIII Barberini (1623-1644).
The artist’s imagination, however, gave a service structure the unusual shape of an open bivalve shell. The lower valve served as a basin, while the other valve, modeled to adhere to the corner of the building behind, was decorated at the base with three bees (heraldic symbol of the Pope’s family). An inscription recalled the pope’s intervention for the construction of the fountain and the fountain as a “public ornament of the city”.
The fountain was dismantled in 1865 for traffic reasons and deposited in the municipal warehouses. Rebuilt between 1915 and 1916, it was located at the corner of the square towards Via Vittorio Veneto, in an isolated position. Fragments of the central bee and the portion of the valve on which it rests are the only original parts of the work.
The fountain was restored in 2000. In 2004 the head of a bee, which was lost following an act of vandalism, was replaced with a copy.
10 Comments CherryPie on Sep 18th 2024
The Fountain of the Naiads is located at the centre of the Piazza della Repubblica on the Viminal Hill. The fountain basin is circular and made of concrete. It includes a high central water jet and a number of lateral jets.[2] At night, the fountain is illuminated by LED lights.[3]
Around the basin are four bronze sculptures depicting naiads, who are water nymphs from classical mythology. They are the Nymph of the Lakes, who is shown together with a swan, the Nymph of the Rivers, who rests on a river monster, Oceanina—the Nymph of the Oceans—who is taming a wild horse representing waves, and the Nymph of Groundwater, who reclines on a dragon’s back. At the centre of the fountain, a sculpture of the sea god Glaucus symbolises the domination over natural forces. Glaucus is depicted as a naked and muscular man and the sculpture is reminiscent of the works of Gian Lorenzo Bernini. He holds a dolphin from whose mouth the central jet emerges.[2]
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Santa Maria degli Angeli e dei Martiri was designed by Michelangelo and is the only Renaissance style church in Rome.
The temple, located very near Piazza della Repubblica, is one of the most surprising and unique in the city thanks to its ruined façade that contrasts with its vast and sensational interior.
The site where Santa Maria degli Angeli e dei Martiri was erected was where the Baths of Diocletian had been founded, an impressive demonstration of the glory of the Roman Empire until, in an intent to conquer Rome, the Goths cut the water supply of all the aqueducts of the city, and the baths had to be abandoned.
When neglected, the baths were taken over by bandits and courtesans until the Renaissance, when the grounds were bought by the French cardinal Jean du Bellay, who commissioned the construction of a beautiful villa and its gardens.
A Sicilian priest suggested building a church on the site of the Baths of Diocletian, in honour of all the Christian slaves who died while building the baths.
Several decades later, in 1560, the priest’s efforts were rewarded by Pope Pius IV who commissioned Michelangelo to transform the baths into a church.
The interior of the church is remarkable and completely unpredictable from looking at its bare façade. With an impressive dimension, the temple is beautifully decorated with vast frescoes on its walls and enormous coloured marble columns.
On the floor, visitors will be able to see the meridian solar line built by the astronomer and philosopher Francesco Bianchini in 1703. Bianchini’s meridian would tell when noon was throughout the year, the arrival of the solstices and equinox, as well as a calendar.
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When there is no place that you have decided to call your own, the no matter where you to, you are always heading home.
Muso Soseki
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